. p iBrice at Hermann Sale. is 
te oe Masters at the Rage 


+ Dammam eat His aad’ a S ranse 


erly in the Gallerie Gustav Ritter | 


von Muhlheim, _ Prague, 


t the Migheds price at the Ferdi- | 


‘Hermann sale of ancient and mod- 


erm niasters at the Plaza last. evening, 
( the sue sie ef the American Art 
OC. Thomas. H. Kirby, Aue; 
‘ going to Roary, aoe for 


poo. | 


which, crouched to the 


sia at him appealingly while. 
with a swo stands at one. 
travelers on horseback are in- 
‘ound, The picture started at 
ran up quickly by thousands. 


é iselting, po 


i cient the second highest price, 
‘also to Leet agent, and — 
chased | 


his | 
sale in WhO and. 


. former 
Ribs t oripait: of Phndrsas" R 
gab pics a anel, 23 
her of the old a 
tent. ee of - the higher’ 
ent iets Barnet, ANS for $3,700. 


ret ard,” si ea: by. yee rye A 
dated ° cog to Knoedler & C 

. rogers price. pao neayare 

ches, the re 

eep tone throu 

Fishe ina 6 nen ac 

rishe dier ‘Ci spi 

ey The. 


: Maiewing is a Net ‘of = aise 


axists, buyers, and prices: 


4-The | Return of the Forag 
ee Pr ecoih olin 


PEN Sry ae 
cs Woman and | 
harcoal, oe 


A "side Canal, Ve 
; tt cm iielnbers 


; as : 
tae Dewtuner: oy nal mank i bar Sauipe! a 
vate River Bank, (canvas)—Kruseman 


done Blten. S. G. Hess,‘ agemt...... 330. | 


T3—A. Landscape, ‘(eanvas)—H, ‘De, Har- 
3 ny Ge Holland Galleries ...+--- ey 
T Road He the ab: ob canvas) 
Pupre; Bernet, agent. ...-.ee++ 
ee epee eres: Bes ci 


Se Sear ae er Siar a Saran: 


is a striking picture, a panel, the | 
n brilliant Oriental rebes, beat- | 


nt. 
“The Hermit,’ * ‘another : 


age Contract, "(na 
it of: a Young Bg rh cy Sete 
e Kovess 8, ae tA ar #8. 
Hess, agent,..... 
oan Portrait ‘of a Boy, (canvas) —Franz 
‘¥en Lenbaeh; Pa Deutsch 


. 24—The. River, (Canvas)—Frits. Thau- 


low; A. Reimann ; 

25—Portrait of Richard Wagner, (nencil 

yale teed 4 jeg! and red chalks 

ne white)—Frans. bitia Riri bee 

pate ‘A. Flirschland. Hig 

Dena View of a Harbor, 
Boudin: Bernet, agent, 


27-A - ‘Cavalier, (panel) — Ferdinand: 


Roybet; Hugene L. Hauer,. 
28—The Cronies, (panel)—George ‘Henry 
Boughton, A, Reimann. 
20—The Estape, (canvas)—Fromentin; 
Rudert,. agerrt 
80—The Church of. Santa Maria ‘della 
Salute, Venice, fpanel is Alor. Levis 
A. PIN hs ie es eae dee ee yeas wer 
zie Discussion, “aha ses 
A. SO iat ia 


on LOFT RE hes 
aa, HERN 5 SAL El 
rts he auc) se AKe 1 ot Ve ld and mo ern 
foreign | ‘and a few modern pictures, which 


m pair New York banker, i in the Hotel | 
announced total of $80,105. 


r. Kirby began the sale, there was not the 
me crowd, nor the same curiosity as at 
e auction sale of. “Diamond Jim” Brady’s 
= pictures in the same room on Monday night. 


tures ruled, on the whole, low, and these 
pus e for the most part. bought in the names 

agents. The picture which had excited 
av most curiosity, the earliest example of a 
| Rembrandt known, entitled ‘““Balaam and the 


the remarkably low figure for any Rem- 
_ brandt of $10,750. The work is a well known 
one coming from the noted Hoschek collec- 
tion of Prague, but while brilliant in color. 
: is hard and tight in handling and is not in 
Gz 8 way a typical example of the master. 
vi ere were few really high prices. A fair 
leone ‘sold for $1,225 and a fair George 
-Inness for only $3, 750. An example of the 
‘old German Lucas Cranach, the elder, 
| brought $2,800 and one of David Teniers, 
‘the younger, $3,950. .A portrait by Hans 
| Muelich, an early German master, for many 

neces considered a Holbein, went to Otto 
4 / Bernet, agent, for only $3, 700. 

Mr... Hermann was long a partner of 
Vencyth & Co., the Wall: St. bankers, and 
left several children, ‘who, at Mrs. Her- 
| mann’s death, could not agree, itjis reported, 
ta as’ tO the respective values of the pictures 
 twhich were to be divided among. them. 

jIt was to determine these values and thus 
-'adjust the matter, it is further reported, 
that the sale of Tuesday evening was de- 
‘cided upon. The Mr. Hess, who figures 
among.the buyers, is said to be the son-in- 
law of the elder Hermanns and presumably 


a behalf of his wife and sister-in-law, while 

‘it is generally thought that a number of 
those purchased in the name of agents, and 
| these were unusual in quantity, were also 
bought for the family. In other words, if 
report is to be believed, the auction was in 
the nature of a partition sale, but of course 
| the Hermann family, if its members were 
_| the chief buyers, had to take their chances 
_ | with other buyers, as Mr. Kirby emphatical- 
Ly pronounced from-his: from his vestry: in 
the sale “an unrestricted one.’ 


The following is a list of pictures sold, 
| with catalog number, artist’s name, title, 
size in inches, height first, width next, buy- 
er’s name (when obtainable) and sale price: 
1. Schreyer, “Return of eed 2 (water- 


tT Pier! color), oe Sedma, vagvent. carey « eve oe $320 
i| ® 2.) Pichel, B. “Game of Sess” (panel), 
a | oF hn: 84x11. tines ASAUETIES potent. olesacats 130 
tT * 3. Charlet, N. T., “A Grenadier” (panel), 
ash 10x7.. E. F. Bonaventure............. 230 

4 : Peetiermann, —i., —)he.-Cardinal .’*Gellist’’ . 

| ba) (canvas), 8x11. Otto Bernet, agent.:.. 440 
a | * 5. Koekkoek, B. C., ‘‘Woody Dell’? (panel), 
a | ~ 12x9.-.S. G. Hess, AGEN Tal). Seas ele wT 340 
| 5) 6. Verboeckhoven, “Sheep and Chickens in 

{ : Stable’’ (panel), 934x12Y%. Otto Bernet, 
il SE Retr eter .c cen eer sete pales es «ce et as et eves 475 

1 7- Weissenbruch, J. H., ‘Meadow, Cottage 
H | > a and Woods” (panel), 13x8™%.. -F.-Norris — --300 
4 8. Boucher, “Woman and Child’ (a draw- 

«ing in charcoal, heightened with ‘eHalky,’;, 20° 

| ss 4 14x15: EE | PR nde I I he 650 
i SZ ‘Rito, “Side Canal—Venice?’. *(panel)s: hg ite 2 
} a Seana aw Ads, —Weinberger Galleries. UF s TR oT o; =i 530 


a ll le 2 i - we Oe” Ae! 


hile the ballroom was well filled iene 


formed the collection of the late oer ae 
er 


room Tuesday eve’g last, brought — Ey 


“he prices for the primitives and old pic- _ 


Angel,” went to W. W. Seaman, agent, for. 


bought the pictures accredited to hinr,-wr* 


color), 1034 x14. ees Hess, agent.. 
ain ~Grutzner, 


| 12. 
if AAC Ee 13x18%4. S. G 


? Ae Hermite, 


, “Countr: “Road” ~(water- 
~“The ‘Monk, “Bookworm” 
eyeey! m Reimann... ss... > 


Kruseman, “River 


fehbess, agent...... 
_ Harpignies, “Lands (canvas), 1234x 
Holland Galleries:7') >; 
Dupres,- pe “Road. to ‘the Farm” (can- 
vas), 6x734. Otto 'Bernet; HO eTIEMRe cist 
Kotschenreiter, » “Merry Lone (can- 
vas), 19x13. S. G rEess; agent. ...:... 
Corot, ‘Landscape’? — (panel), LOWES 96. 
PAOD) EULESCIN) © tims, a0) seat ters < Situs aea te 8.8 
Daubigny, C. F., “River arene) with 
Woods: Evening” (panel) : Rae 
nyt Gy (Hess; AGEN. etegerr et vies ber ne 
Corot, “Ta Your D’Esbiy” (canvas); 1 
Otto Bernet, 
“Two 
(pastel, on canvas), 15x19. S. 
agent 
Madrazo, hes “Portrait of Lady” (panel), 


(canvas), 
Van Elten, 


Spring”’ 
G. Hess, 


Cia Se a We Oe a Cec eter eC Cer nr a er i eS 


: 19x17%4. W. Neuberger Rae ye oh ee oe 
Gallegos, Ties “Marriage Contract’’ 
(panel), 15x24. A. Reimann.......... 
Henner, t, 4... “Portraipeot Younis Lady” 
Cia Tete Rouge), (canvas), 17x13. 
SiG tless; agent! sewer...) pape sctrs 
Von. Lenbach, F., “Portrait of a Boy” 
(canvas), 21x16%4. A. Deutsch RRP RE 


(canvas), 18x 
Von Lenbach, F., “Portrait of Richard 
Wagner”’ (pencil drawing in brown and 
red chalks heightened in white), 22x17. 


Thaulow, F., “The River” 
22 A. Reimann 


Pes As sbuirschlaritesee ei < a. «| «are eietenaeeee 
Boudin, “View of a Harbor’? (canvas), 
14x23 2 Otto. Bermeteoacent:., . .y:. assem 
>. Roybet, F., “fA Cavalier’ (panel), 24x 
pop tt Stee eugene. Littavet to. . 2 cic sae ome 
Boughton. G. H., ‘“Cronies’’ (panel), 26x 
E23 a NS Reimann pets ne Pee 
Fromentin, “The Escape” (canvas), 25%x 
Bl Ne Rudert, AG EM Gere ee oh suctelereseicetgns 
Ziem, F., “Church of Santa Maria Della 
Salute—Venice” (panel), 161%4x25, Louis 
pape) Sc hu cla ane, BU cose ec EM red Cas 
Villegas, Jose, “A Wayside Discussion” 
(canvas), 21x31. A. Reimann.......... 
Bogert, ra H., “Sundown” (canvas), 28x 
36 Seaman, agen (ae - Gate Bac ete ROL ERR fe 


Inness, George, “Sunset in Apple Orchard” 


(canvas) 5 22x27. 


Knoedler & Co. Be eat 


“Twilight” erly, 
42;pue eAm RUDE, APE in. ok... eee ws 
“Old” Crome, “The Porlington Oak” 
(canvas), 361%4x44. Seaman, ‘agent..... 
Hodgson, David, ‘“‘Market Place and Church 
of St. Peter—Norwich” (canvas), 35x18. 
Mircette Ane GOLimtani ani sissies os sores ote 
Russell, John, “Portrait of Lady” (pastel), 


Loeb, Louis, 


ORAS Para Cr mELeSS AGEN bs acre 5 teehee + ciebene 
Wilcock, G. B., “Rural English - Scene” 
(canvas), B0K24- WW, Coffins woke bs ca 
Constable, “‘The Pond” (painted in oil 


on millboard), 12x16. A. Rudert, agent 
Barker of Bath, “Country Road’”’ (canvas), 
Fe teres Aon Merman = ec ae eee ok 
Morland, G., ‘‘On the Coast, Isle of Wight’’ 
(canvas), 1014x19. Seaman, agént..... 
Constable, “‘“English Village’ (watercolor), 
94x15. Wralket's Sirus ed se toca oo 
Byzantine School, ‘‘A Tabernacle” (taber- 
nacle of wood), 834x6, (the paintings), 
Hes Ane AAR Se lendenning twin cis <ctalens 
Master of Cappenberg, ‘St. Catharine.”’ 
Companion to 45 (panel), 16x6. Klein- 
hetwéere Gallerieol mannect ere ore tani bs oe 
Master of Cappenberg, “St. Barbara.” 
Companion to 44 (panel), 16x6. Klein- 
berger (Gallenseses caveat suicw wieiais Slecsces = On 
Di Pietro, Sano, ‘‘Madonna and Child, 
with Saints and Angels’? (wood, curved 
downward at top), 26x19. R. Eder- 
EIGER isso wae ee arate hee ies oc wea 
Master of Death of Mary, “Madonna and 
Child” (panel), 26%4x20. Otto Bernet, 


BX CUE Meenas shore eNeteier as zolp a1 One tacaaielsie. si@clelm isis 6 
Bouts, Albert, “Scenes from Life of the 
Virgin’ (Triptych) (panel, arched), 
center 24x151%4Z, wings 24x61. Klein- 
berger? Galletiectwetatics «orci seals ss 
Pourbus, Franz, the Elder, ‘‘Portrait of 
Guillaume, Sire de Croy” (panel), 17x 
13cm) Ottoe-Dernet agent ws. sta ce sata eink 


Rubens, P. P. and Seghers, Daniel, 
donna and Child” Fecepery, 1514x12%4, 
MELON DELICE, PHASE ie dials’ «40h s ere ature tbl 

Pourbus, Franz, the Elder, ‘‘Portrait of 
Young Lady” (panel), 10%x9. Otto 
HVOETICL, ee CCEILMe sc sutiiala teh +. doe aa a aheie anaes 

Clouet, Francois,. ‘Portrait of Lady” 
(panel), 6%4x8. Kleinberger Galleries. . 


2,100 


1,600 


ot, Tendr 


Bot, Hendrik Gerritsz, Pe 


Van d er Meer, of Haarlem, .‘‘Environs de 


ritsz, 
ae eCuinted in| 
angular panel), 634x5. 


Sanen” (painted in a fei 
rectangular panel), 634x5. 
Van der Neer, Aart, “Dutch Canal, Moon- 
light”’ (canvas), 14 Yax18Y2. "Otto Ber-— 
net; ATONE nk eae Seas Ce 425 | 
Van *Goyen, Jan; Winter liandasse RVLELRG oS et, 
Skaters” (panel), 8x9%. R. Ederheimer 575!) 
Cranach, Lucas, the Elder, “Woman Taken = 
in “Adultery” (panel), 14x9 2 Klein- 
berger Galleries (5). eer. «ee eteieee as sakes 
Teniers, David, the Younger, Taterior 
of Flemish. Inn” (canvas), 15x11. PAR 
Hdérhetmeér Seite. 1: che eh eee ee. 
Van der Neer, Aart, “Landscape” (panel), 
12x15. A. Reimann aoe AALS nee a 
Dou, Gerard;-““The> Hermit’’~(panel),> 16x 
12: Seaman, ADETIt x. \. coer ena eee 
Van Goyen, Jan, “Village on Bank of 
River Maas” (panel), 1334x24. - AL Rei- 
teh os Re ere ety RM MEER aa 
Steen, Jan, “A Merry ee page in the 
Open Air” (panel) , 16x19, _Eder- 
heimer' -:5c80 2 saeeeee sss ete hte COE 
Backer, ese eSBortraits sre Elderly... 
Woman’ (panel), 17x13%, <A. Reimann | 
Muelich, Hans, “‘Portrait of Andreas Reid- ! 
mohr” .(panel), 23x18.. Otto Bernet, —-. 
Agent Fs Balen. Bees LS ks GR OE  (ORMOU. 
Rembrandt, ‘‘Prophet Balaam andthe: "a 
Angel”’ (panel), 25x18. Seaman, agent. 10,750 
Van Ruisdael, Jacob, ‘“‘Waterfall” — (can- yap 
_ vas), 227x214. SoG: Hess, agént.s. +. 2 125074 
Janssen, G., “Portrait “of Lettice, Vis- aN 
countess Falkland” (canvas), © 29x22. _ Ne ace 
Seaman, agent: {ein ss Jc ncaN «| Pees E000 Teena 
Janssen, Cc. “Portrait of —Luciuge Cary, ae 
Second “ Viscount] Falkland” > *(¢anivas),.- + [aerate 
2814x22.- Seaman} agent 2). .2. sa eehe ws ots DOUG tea ements 
Dou, Gerard, “A Young Scholar in His Beaty eee 
Study” (transfetred from wood tO Cans So 
vas), 23%x31Y%. R. Ederheimer....... 3,000 is 
Beerestraaten, Jan; and Van de Velde; 
Adriaen, “Italian Harbor With Dutch 
Men. of: War.” Otto Bernet, agent,......--1,700 
Wynants, Jan, “Landscape With Figures” yee: 
peenver ys 27x384s $7 'G. Hess, agent .a‘h< 600 


_ Haarlem” (canvas), pa Roe AOS Levy. 650 fas ma fe 
Total eee ee et 


stk 


fee 


De 


Di 


I 
i} 
1 
r 
i 
. j 
- 
{ 
: 
| 
: 
: 


ON FREE PUBLIC VIEW 


9 A.M. UNTIL 6 P.M. 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


FROM TUESDAY, JANUARY 8th, 1918 
UNTIL THE DATE OF SALE, INCLUSIVE 


VERY VALUABLE PAINTINGS 


COLLECTED BY THE LATE 


FERDINAND HERMANN 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF EXECUTORS 


ON TUESDAY EVENING, JANUARY 15th, 1918 


IN THE GRAND BALLROOM OF 
THE PLAZA HOTEL 


FIFTH AVENUE, 58th TO 59th STREET 


BEGINNING AT 8.15 O’CLOCK 


ILLUSTRATED CATALOGUE 


OF THE 


VERY VALUABLE PAINTINGS 


BY 


ANCIENT AND MODERN MASTERS 


COLLECTED BY THE LATE 


FERDINAND HERMANN 


NEW YORK CITY 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


BY DIRECTION OF 
BERNHARD F. HERMANN, DAVID T. DAVIS AND ARTHUR M. HESS 
EXECUTORS OF THE LATE SARA HERMANN 
WIDOW OF FERDINAND HERMANN 


IN THE GRAND BALLROOM OF 
THE PLAZA HOTEL 


FIFTH AVENUE, 58th TO 59th STREET 


ON THE EVENING HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF THE 
AMERICAN ART ASSOCIATION, MANAGERS 


NEW YORK 
1918 


DESIGNS ITS CATALOGUES AND DIRECTS 
ALL DETAILS OF ILLUSTRATION 
TEXT AND TYPOGRAPHY 


PREFATORY NOTE 


It will readily be conceded that the pictures described herein, 
and which compose the collection of the late Mr. and Mrs. Ferdi- 
nand Hermann, cover a surprisingly wide range both in chro- 
nology and in choice of subject. Where a painting is obviously 
autograph there is no need of a signature, although it will impart 
an added interest to the work of art. And a remarkably large 
proportion of the pictures in this collection are signed. 

We here find but a single example of Italian art, a ‘‘Ma- 
donna” by Sano di Pietro. By its recent exhibition it has stood 
the test of public consideration and critical analysis at the hands 
of the experts.. Frost-bound formalism of ecclesiastical restric- 
tion is the dommant feature of Byzantine art, yet the small and 
later **Tabernacle” before us is unusually gay in color. In the 
representative triptych by Albert Bouts, and in the two small 
works by the Master of Cappenberg the primitive aspect of 
Netherlandish expression is clear to see. Another, and rather 
different phase is provided for the student in the picture now 
rightly assigned to the Master of the Death of Mary. An echo 
of the Renaissance reaches us in the art of Rubens, Frans Pourbus 
the Elder and David Teniers the Younger. 

Representative in every sense is the “Christ and the Woman 
taken in Adultery” that bears the sign manual, a crowned ser- 
pent, of Lucas Cranach the Elder, together with the date 1537. 
The strong portrait of “Andreas Reidmor,” long regarded as 
the work of Hans Holbein the Younger during the dark ages of 
uninspired criticism, is now by common consent assigned to Hans 
Muelich. The art of Holland is ushered in with an example of 
the work of the soul-searching Rembrandt. It cannot fail to 
elicit considerable interest and even a measure of curiosity, for 
it is one of the very earliest works of the great Dutch master, 
if not actually his first surviving achievement. Indeed, it might 
almost be said to bear the same relationship to the full @wvre of 


the great Dutchman as does the “Vision of a Knight,” in the 
London National Gallery, to that of Raphael. If Rembrandt’s 
pupil Dou is represented by two works, and Backer, Cornelis 
Janssen and Pot carry on the traditions of the school in por- 
traiture, we must accord front rank among the landscape painters 
to Jacob Van Ruisdael and Jan Van Goyen. While we meet 
with a remarkable and fully signed canvas by Jan van der Meer 
of Haarlem, we must also group works by Beerestraaten, Van der 
Neer and Wynants and an example of genre painting which is a 
signed work by Jan Steen. 

In the French school we here go back as far as Clouet, and 
in due time come to a drawing by Boucher and examples of such 
modern painters as Corot, Daubigny, Dupré, Fromentin, Boudin, 
Ziem, Harpignies, Henner, Roybet and L’Hermitte. In John 
Constable’s water-color we see something of the distinction and 
natural selection of the English school, while the rather later 
landscape painter, John, or “Old,” Crome is admirably repre- 
sented by “The Porlington Oak,” which in England enjoyed a 
reputation before the work of that artist had attained the repute 
that is now the vogue. Russell the pastellist, George Morland, 
and David Hodgson make also their appeal on the present 
occasion. 

Mr. Hermann made his first purchases from among the 
works of modern painters. We thus encounter Verboeckhoven in 
Belgium, Israels in Holland, Madrazo and Villegas in Spain, Len- 
bach and Schreyer in Germany and Frits Thaulow in Norway. 
Inness, Boughton and Bogert stand for successive moments in 
the art of America. — 


Mavricrt W. BrocxwkE.u. 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance 
may be rejected by the auctioneer, if, in his judgment, such bid 
would be likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute 
arise between two or more bidders, the auctioneer shall either de- 
cide the same or put up for re-sale the lot so in dispute. 

8. Payment shall be made of all or such part of the pur- 
chase money as may be required, and the names and addresses of 
the purchasers shall be given immediately on the sale of every lot, 
in default of which the lot so purchased shall be immediately put 
up again and re-sold. 

Payment of that part of the purchase money not made at 
the time of sale shall be made within ten days thereafter, in de- 
fault of which the undersigned may either continue to hold the 
lots at the risk of the purchaser and take such action as may be 
necessary for the enforcement of the sale, or may at public or 
private sale, and without other than this notice, re-sell the lots 
for the benefit of such purchaser, and the deficiency (if any) aris- 


ing from such re-sale shall be a charge against such purchaser. 


4. Delivery of any purchase will be made only upon pay- 
ment of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 
9 A. M. and 1 P. M., and on other days—except holidays— 
between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American 
Art Galleries, or other place of sale, as the case may be, and only 
on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, 
of any purchase during the session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business 
in which the Association is in no wise engaged, and will not be 
performed by the Association for purchasers. The Association 
will, however, afford to purchasers every facility for employing 
at current and reasonable rates carriers and packers; doing so, 
however, without any assumption of responsibility on its part 
for the acts and charges of the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the 
purchaser. Title passes upon the fall of the auctioneer’s hammer, 
and thereafter, while the Association will exercise due caution in 
caring for and delivering such purchase, it will not hold itself 
responsible if such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 

7. Guarantee is not made either by the owner or the Asso- 
ciation of the correctness of the description, genuineness or au- 
thenticity of any lot, and no sale will be set aside on account of 
any incorrectness, error of catologuing, or any imperfection not 
noted. Every lot is on public exhibition one or more days prior 
to its sale, after which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot 
correctly, and will give consideration to the opinion of any trust- 
worthy expert to the effect that any lot has been incorrectly cata- 
logued, and, in its judgment, may either sell the lot as catalogued 
or make mention of the opinion of such expert, who thereby would 
become responsible for such damage as might result were his 


opinion without proper foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 


TALOGUE | 


a 


SALE TUESDAY EVENING 


JANUARY 15, 1918 


IN THE GRAND BALLROOM OF 
THE PLAZA 


FirtH AVENUE, 58TH TO 59TH STREET 


BEGINNING AT 8.15 O'CLOCK 


No. 1 
ADOLF SCHREYER 


GERMAN: 1828—1899 


THE RETURN OF THE FORAGERS 
(Water Color) 
Height, 7 inches; width, 5 inches 


lu ly. Seana, 


A rour-HorsED sleigh, driven by two postilions who are urging 5 7) Le 
on their teams with their whips, is ploughing its way over the 

snow. A man follows. At a bend in the road on the left a 

soldier has halted at a wayside Cross. Birds on a tree on the 

right. A dark lowering sky. 


Signed in the left foreground, Av. ScHREYER. 


Purchased at the sale of the collection of Mrs. S. D. Warren, New York, Jan. 
8, 1908, No. 14. BA SO — 


No. 2 
BENJAMIN EUGENE FICHEL 


Frencu: 1826—1895 


A GAME OF CHESS 


; por LA Dae cane 
Height, 814 inches; length, 11 inches 
22 Five elegantly attired men, and a man-servant, in an interior. 


‘gehts mace 


At a table two of the company, one in brown and the other in 
yellow dress, are facing each other at a game of chess. By the 
wall on the right, in red, a man stands and smokes and near him 
hang a colored print and a tricorne hat. A large umbrella is 
against the wall. To the left is a man in white, who talks to a 
man, in pink, who is seated. The man-servant, wearing yellow 
breeches and blue stockings, and a white apron, approaches 
from the left, where the fireplace is; in the left background is a 


window. 
Signed in the left foreground, and dated 1881. 


No. 3 
NICOLAS TOUSSAINT CHARLET 


Frencu: 1792—1845 


A GRENADIER 
(Panel) 
: Height, 10 inches; width, 7 inches 
Ce peareutin “I~ blue uniform with red epaulets, fur helmet with aigrette, white 
breeches and cross belts, he stands at full length, looking three- 
quarters to the left. By his left side is his musket. A battle 
scene dimly seen in the background. 


g Oo 


ol JO 


Signed imgthe left foreground. 
Formerly in the Wall-Brown Collection, 1886. MWG +, &/O = 
Purchased at the sale of the collection of Mrs. S. D. Warren, New York, 
January 8, 1908, No. 18.8 Z00+ "e) 
The Louvre possesses a “Grenadier de la Garde” by Charlet, and the 
Geneva Gallery a “Grenadier en bonnet de police.” 


No. 4 
LEO HERRMANN 
THE CARDINAL VIOLONCELLIST 


(Canvas) 
Height, 8 inches; length, 11 inches 
Tue Cardinal, in his robes, is seated, and turned three-quarters 
to the left. He is playing the violoncello from the music score 
placed on a low-backed, red-upholstered chair. Further back 
is a table with a green tablecloth; on it are books, papers and 
a candlestick. Oriental carpet. Neutral-toned wall behind. 


Purchased from Fishel, Adler § Schwartz, New York. 


No. 5 


BAREND CORNELIS KOEKKOEK 


Dourcu: 1803—1862 


A WOODY DELL 
(Panel) 
Height, 12 inches; width, 9 inches 


On the outskirts of a forest, seen in the late afternoon, a purling 
stream trickles over boulders as it makes its way from the center 
toward the right. On the bank on the left a man, accompanied 
by his dog, is walking away. On the far side of the stream, and 
on higher ground in the middle distance, a man speaks to a friend 
on horseback; sheep are near. The sun is seen through the trees 
on the left. 


Signed and dated on the face of a stone on the far side of the stream, 
B. C. KoexKxkoek, 1850. 


Nib oe abt: 


“ 08: 


No. 6 


EUGENE JOSEPH VERBOECKHOVEN 


BetGian: 1799—1881 


SHEEP AND CHICKENS IN A STABLE 


(Panel) 


a 
aT 
; Height, 934 inches; length, 121, inches 


SHEEP are standing or lying down on the right, near the hay-rack 
in a straw-strewn stable. More to the left are chickens and an 
upturned wooden stool. On the far wall hang a jar, and a short- 
handled spade near chalk marks which denote the farmer’s cal- 
culations. Through the doorway we see a haystack. 


Signed in the left foreground, and dated 1864. 


On the back the artist has made a declaration in writing, in 1864, that 
he painted this picture. 


ge ee eee ee 


a 


No. 7 
JOHANNES HENDRIK WEISSENBRUCH 


Dutcu: 1825—1893 


MEADOW, COTTAGE AND WOODS 
(Panel) 
Height, 18 inches; width, 81, inches ree 


A goat is on a pool of water in the center and on the right of the eyes 
composition. In the meadow on the far side of the pool sheep Ad Oa 
browse. In the middle distance a church, amid houses, is seen 

near trees. The woods stretch away toward the right. 


Signed in full, in the left foreground. 
Sold in London, and) subsequently purchased from Fishel, Adler § Schwartz. 


No. 8 
FRANCOIS BOUCHER 


Frencu: 1703—1770 


A WOMAN AND A CHILD 


(A drawing in charcoal, heightened with chalk) FOI ee Lo Ce 
Height, 14 inches; length, 15 inches 
Tuer woman, looking toward the left, is seated at the side of the Sone 


road; a small boy lies on the ground by her side and, like her, 


gazes fixedly into the distance. 
Signed to the right, F. Boucuer. 


VA No. 9 
MARTIN RICO 


SpanisuH: 1850—1908 


A SIDE CANAL, VENICE 
IE ee EP Ds (Panel) 


Height, 9 inches; length, 14 inches 


eae sont Tue slow-moving boats of the sluggish stream carry the eye past 


the tall houses which, with their gaily colored windows, bal- 
conies, flower-pots and roofs, adorn the composition on the left. 


[Continued 


Prices 

1 J $ 320. 
a 380 
4 440. 

3 S 5. 340. : 
ee ae 
2 a 650. 
fp ar aeres 
10 fe y 1100. 
aa? 2 Bae 
12 3306 
13 625. 
14 425. 
oS ieee om 
2G BO, 
Pe 8, 600. 
18 1225. 
19 625. 
20 175. 
21 500. 
22 7006 
23 600. 
24 6006 
25 250 « 
26 575. 
27 475. 
28 525. 
29 700. 
30 850. 
31 3756 
32 A256 
33 3750. 
34 575. 
35 2100. 
36 260. 
37 300. 
28 130 » 
39 675. 


. 


Ferdinand Hermann Collection, 


sold at the American Art Association, 
‘New York, Jan.15, 1918. 


Buyers 
W.W. Seaman, Agt. 
Arlington Gall. 
E.F. Bonaventure 
Otto Bernet, Agt. 
$.G. Hess, oe 
Otto Bernet, " 
F, Morris 
M.Knoedler & Co. 
Kleinberger Gall. 
S.G. Hess, Agt. 
A. Reifmann 
$.G. Hess, 
Holland Gall. 
Otto Bernet, Ast. 
SG. Hess, " 


 Alex.Deutsch 


S.G. Hess, Agt. 
Otto Bernet, * 
S.G. Hess, " 
DW. Neuberger 
A. Reiyimann 
5.G. Hess, Let. 
Alex.Deutsch 

A. Reimann 

F.A. Hirschland 
Otto Bernet, Agt. 
Bug. Littauer 
A. Reimann 

A. Rudert, Agt. 
Louis A. Stirn 
A. Reimann 

W.W. Seaman, Agt. 
M.Knoedler & CO-6« 
A. Rudert, Agt: 
W.W. Seaman, ”" 
Mrs.H.A. Goman 
S.G. Hess, Agt. 
W. Coffin 

A. Rudert, " 


Prices 
& 220. A, Reimann 

500. W.v. Seaman, Agt. 
210. M. Walker : 
175. R. Glendenning 
2500. Kleinberger Gall. 
2500. " ime 
21006 R. Ederheimer 
1600. Otto Bernet, Agt. 
1500. Kleinberger Gall. 
1700. Otto Bernet, Agt. 
1150. . e as 
1800. " ie " 
950. Kleinberger Gall. 
3750.4 R. Ederheimer 
375. Si] ‘? 

425. Otto Bernet,Act. 
575, '¢ W- | 
2800. Kleinberger Gall. 
950. R. Ederheimer © 
1075. A. Reimann 
4900, W.W. Seaman, Agt. 
1550. A. Reimann 

1100, A. Mayer 

200. A. Reimann 

37006 Otto Bernet, " 

10,750. W.W. Seaman, " 

1250. S.Ge Hess, " 
1500. W.W. Seaman, " 
1500. % " vf 
3000. R. Rderheimer 
17006 Otto Bernet, "™ 
600. 5.G. Hess, # 
650. Ao. Levy 


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Gondolas are fastened up to, or are being rowed past, the wooden 
piles which protect the private landing of the palazzo on the 
right. In the middle distance the scene of festive color and pic- 
turesque incident is continued, in the neighborhood of the small 
bridge which spans the waters of this side canal. 


Signed Rico on the wall on the left. 
Formerly in the collection of William Wilds, New York, 1894. 


Purchased at the sale, in New York, February 3, 1905, No. 4, of the collec- 
tion of J. W. Kauffman, of St. Louis. 8iS50-4 


No. 10 


JOSEF ISRAELS 
DutrcnH: 1824—1911 
a A COUNTRY ROAD 
3. af )veo2, A (Water Color) 


Height, 10%, inches; leng 


h, 14 inches 


A counrry woman, with her large basket by her side, is leaning 
against a wooden fence near a small clump of trees. A gradually 
rising landscape background leads up to the hills in the distance. 

Signed in the left bottom corner, Joser Israrts. 


Purchased from Jules Oehme, New York, 


No. 11 


EDUARD GRUTZNER 


GERMAN: 1846—1878 


THE MONK, BOOKWORM 
meen CI vas) I [Fennec 


Height, 17 inches; width, 14 inches a 
Tur monk, seen in small figure and nearly at full length, wears Se ee 
a light brown habit, a skull-cap and a white girdle. He wears 
ae his spectacles, and a quill pen is over his right ear. He is passing 
toward the right in the lbrary, as he holds bulky folios under 
his right arm and in his left arm other books, one of which he 
is already trying to read. In the right foreground is a table, 
and on it an open deed box containing parchments. Bookshelves 
fill in the background. Books are placed on a stool on the left, 
and on it is the signature, with the date: Ed. Griitzner, 1894. 


No. 12 


KRUSEMAN VAN ELTEN, N.A. 


AMERICAN: 1829—1904 


A RIVER BANK 
po 
(Canvas) ee Gs / ee, Ak 
Height, 13 inches; length, 181% inches Dy. 
From the towpath, with trees on the right, we see across the 4S oe 


river where boats are moored to the far bank, with houses and 
trees near at hand and further away. Sunny sky, cloud cumuli. 


Signed in the right bottom corner, KrusEMAN VAN ELTEN. 


Fed 


oO Oo 


No. 18 


HENRI JOSEPH HARPIGNIES 


Frencu: 1819—1916 


A LANDSCAPE 


(Canvas) 


Height, 12° inches; length, 15 inches 


A sanpy field with scanty vegetation is crossed by a path on the 
right, up which a lady in a blue skirt and red coat is walking 
across the shadow cast by tall trees. Beyond, to the right, is a 
view of a house-boat on the shore of an inland sea on which is 
a sailing vessel and, seen against the skyline, a steamer. A ter- 
race on the left runs round the shore at the foot of a hill, the 
coast being indented by narrow bays. 


Signed, in the left bottom corner, Harpienies, 91. 


No. 14 


JULES DUPRE ™ \5 


Frencu: 1811—1889 


THE ROAD TO THE FARM 


(Canvas) 


Height, 6 inches; length, 7°4 inches 


A woman in a blue skirt, red bodice and white headdress advances 
down the well-trodden ground in the center; patches of green 
grass on either side. In the right foreground is a pool of water. 
Trees in front of the thatched cottages which form the back- 


ground. 
Signed, in the left bottom corner, Jures Dupre. 


Sold by the artist direct to Fishel, Adler § Schwartz, New_York, from whom 
it was purchased. 


Re Oar 
CO lo Md re 


\ 


: No. 15 | a | 


HUGO KOTSCHENREITER 


GERMAN: 1854—1908 


A MERRY TOPER 


ae (Canvas) 
oe Sey 7 Jve0?, Ly! Height, 19 inches; width, 13 inches 
a p22 Smauu full-length figure of a man seated before a gray wall, 


apparently outside a house, with a window above to the left. He 
is In an armchair near a wine cask, on the top of which is his red 
handkerchief. He is dressed as a peasant, with a light-colored 
vest and a red tie; his coat hangs loosely over his left shoulder ; 
he wears his broad-brimmed hat. His uplifted right hand holds 
a glass of wine, and he looks gleefully toward the left. Broken 
pavement in the foreground. 


Signed, and dated 1889, at the top right corner. 


No. 16 


J KAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


A LANDSCAPE 
(Panel) 
Height, 10%, inches; length, 1434 inches 
A WIDE-SPREADING country seen, with little natural detail, 
* aia ss through overhanging trees. The trees extend from the right | 
across the composition in the arbre penché manner of the artist. 
Sunset sky beyond. 


Signed in the right bottom corner. % 
Purchased at the sale of the J. Staats Forbes Collection. Sbunrel, /9ob hioWhe Soa 


At one time in the possession of Messrs. Cottier, New York, whose name is 
on the back, together with the No. 1490. 


wi 


No. 17 
CHARLES FRANCOIS DAUBIGNY, f [ 
Frencu: 1817—1878 i : N 


RIVER SCENE, WITH WOODS: EVENING 


(Panel) 
° ° ° A 
Height, 8°4 inches; length, 161% inches Ss. <4 faa Lo! 
Tue river runs in full stream round the bend, at the confluence Var hee 


with another stream. Near the bank on the left, a man is seated 
in a fishing punt. Trees on the right bank. Woody background 


on the left. Cloudy, evening sky. 
Signed at the left bottom corner. 


Purchased at the sale of the J. Staats Forbes Collection. 1906 X27, Meo .Jooo 7 


No. 18 


JEAN BAPTISTE CAMILLE COROT 


A Frencu: 1796—1875 
Uy LA TOUR D'ESBLY 


(Canvas) 


Height, 10 inches; length, 13 inches 


An artist, in a blue smock and straw hat, is seated before his 
easel in a grass field with a light green-toned setting with willow 
trees on the right. In the background a church tower rises against 
the sky. Cloudy sky, the sun striking across the turf from the 
right. 3 

Marked, in the right bottom corner, in red letters: VenvE Corot. 
Sold by Durand-Ruel, Paris, 1896, with his red seal and the stook Nomeelnans 

the back. 


Purchased at the sale in New York of the collection of J. W. Kauffman, of 
St. Louis, February 8, 1905, No. 33,- BS/S0 ~ 


Illustrated and recorded in Alfred Robaut’s “Corot,” No. 2193, where it is 
described as follows: 


“1874 (August 25).—Cricy-en-Briz. Village Belfry. In the foreground, 
a painter seated before his easel, working. It is the artist Chatelain, friend of 
Maisiat, whom Corot knew at Crécy. Posthumous Corot Wiser Sold 
to Mr. Jules Chamouillet. Belonged to M. Durand-Ruel in 1893.’ 13 157. Jee 15004 


No. 19 


LEON AUGUSTIN L’HERMITTE 


Frencu: Born 1844 


TWO WOMEN AT A SPRING 


(Pastel, on canvas) aa 
ars , SD. Sheae, U9! 
Height, 15 inches; length, 19 inches 
In a rugged country a path leads down to a spring, where an ea ee 2d 
aged peasant woman is bending down to draw water in a pail. 
To the left stands by her side a young woman with a pitcher on 
her head. 
Signed in the left bottom corner. 
Purchased from Jules Oehme, New York. 19094 STS £48 7 


No. 20 
JOSE MADRAZO 


SpanisH: 1781—1859 


PORTRAIT OF A LADY 


(Panel) 


E- Ley. a ae Height, 19 inches; width, 17, inches 


~ O90 


Oe aes 


Hatr-Ltencru, turned slightly to the left, but looking out at the 
spectator. Brown eyes, gray-brown hair which falls in curls on 
to her shoulders. She wears a light blue dress, striped with 
white, a white kerchief with a satin bow at the breast. Feathers 
in her wide-brimmed felt hat. Neutral toned sky background with 
foliage. 


Signed in the left bottom corner. 


No. 21 
JOSK GALLEGOS 


SpanisH: Born 1859 


THE MARRIAGE CONTRACT 


(Panel) 
Height, 15 inches; length, 24 inches 


In the sumptuously furnished sacristy of a large cathedral three 
priests and the affianced couple are assembled round a table. 
On the wall behind them, under a baldacchino, hangs a crucifix. 
An ecclesiastic reaches down a volume from the book case. More 
to the left, on richly upholstered chairs, sit the witnesses and 
relations dressed in silk and satin and with lace mantillas. A 
choir boy in a red cassock brings books from the right. Through 
the doorway we see the iron railings leading to a staircase, with 
a stained-glass window beyond. 


Fully signed, J. Gattecos, Roma, in the right foreground. 


Purchased at the sale in New York, February 3, 1905, No. 16, of the col- 
lection of J. W. Kauffman, of St. Louis. $/300 + 


No. 22 


Frencu: 1829—1905 


JEAN JACQUES HENNER Ved 


PORTRAIT OF A YOUNG LADY 
(“La Téte Rouge’) / 3 
: iF Neg) te 
(Canvas) S ei a: 
Height, 17 inches; width, 131/, inches i DO 


Bust length; almost in full face, but looking over her left shoul- 
der. Her auburn hair falls in profusion over her right shoulder, 
and is parted down the middle. The fixed gaze has the expression 


[Continued on the following page 


of a passionate subject, with classical features and a full mouth. 
Her dress is low cut, the right shoulder being partly covered by 
a rich red cloak. 
Signed on the right, J. J. HENNER. 
Purchased at the sale of the D. H. King, Jr., Collection, New York, February 
17, 1896, No. 17. — B 750 


too 


| FRANZ VON LENBA 


No. 28 


FRANZ VON LENBACH - 


GERMAN: 1836—1904 


PORTRAIT OF A BOY 
: | Dey Detak (Canvas) 


: Height, 21 inches; width, 161, inches 
O° 
COD. A stupy in oil, of a boy about eight years of age, almost in profile 


to the right, but looking out over his right shoulder. In a brown 
suit and a white collar. Neutral background. 


Signed halfway down on the right, F. Lensacn. 


Purchased from Theobald Heinemann, of Munich. 


No. 24 . 


FRITS THAULOW 


Norwecian: 1847—1906 


THE RIVER 
(Canvas) 
Height, 18 inches; length, 22 inches 
gl! a ee eae a0 
Tue river, in which the rays of the sun are reflected, flows down bog = 


into the left foreground. On the far side, to the right, are 
outhouses hung with autumn leaves. Further back, and to the 
right, stands a country residence which has an exterior gallery. 


Signed in the right bottom corner. 


No. 25 


FRANZ VON LENBACH 


GERMAN: 1836—1904 


PORTRAIT OF RICHARD WAGNER 


(Pencil drawing, in brown and red chalks heightened in white) 


Height, 22 inches; width, 17 inches Eee, ete chliwe 


Busr length; three-quarters to the right. Clear-cut features. 


~ , 00 
Wearing a round hat. 250 — 


Signed in the left bottom corner. 


Purchased from Theobald Heinemann, of Munich. 


No. 26 


EUGENE LOUIS BOUDIN _ .- 


Frencu: 1825—1898 


A VIEW OF A HARBOR 


aor /. | (Canvas) 


Height, 14 inches; length, 23 inches 


A view of a tidal river, with boats moored in the foreground 
and a man fishing in one of them. More to the right, in the 
middle distance is a small boat-building dock near some houses. 
The bank curves as the river widens toward the left, where are 
many houses and a church. In the left foreground are red- 
roofed ‘house 


Signed on the grass on the right, E. Bountn, 794. 


INO 27: 


FERDINAND ROYBET 


Frencu: Born 1840 


A CAVALIER 


(Panel) ay F NM TIP 


Height, 24 inches; width, 151, inches 


Smaxy full-length, standing figure turned three-quarters to the 
right. In a mustache and short beard. Wearing a rich red and 


[Continued on following page 


gold patterned dress, slashed, edged with gold and fastened with 
red ties; lace ruff, large black felt hat; high leather gaiters and 
spurs. His gauntleted right hand rests on the hilt of his sword, 
which is pointed to the ground. In his left hand he holds a long- 
stemmed glass. Behind, to the left, is a table covered with a dark 
green cloth; on it are a large metal drinking flagon with cover, 
and the cavalier’s left glove. A dark green and yellow pat- 
terned tapestry hangs on the paneled wall at the back. 

Signed in the right foreground, F. Rovyser. 
Purchased at the oe the D, H. King, Jr., Collection, New York, February 


17, 1896, No. 64: ¥ 645 ~ 
por 


No. 28 


GEORGE HENRY BOUGHTON, R.A. 


AMERICAN: 18383—1905 


THE CRONIES 


(Panel) CL. igs ae A a 


Height, 26 inches; width, 231, inches 


Tue interior of a cottage with two old women seated in front 
of the fireplace in which the charred embers still burn. The 
woman on the right wears a pink-brown skirt, blue apron, white 
jacket, white kerchief round her neck and a white cap. With her 
back to the spectator, and warming her hands at the fire, she 
has placed faggots on the floor beside her. More to the left, the 
other woman is dressed in brown and wears a white hat; she is 
turned three-quarters to the right. Above her head a picture 
hangs on the wall. On the left is a closed door. On the high 
mantel shelf are cups, books and bottles. 


Signed in the left foreground, G. H. Boventon, A.R.A., 1887. 


Purchased at the sale of the Henry G. Marquand Collection, New York, 
January 23, 1903, No. 84. In that catalogue it is claimed that “perhaps 
one_may detect in this very good example of George Boughton a certain 
influence of Edouard Frere, whose friendship and advice he enjoyed 


during his stay Bee 5650. Peles hesaer 


No. 29 


EUGENE FROMENTIN 


FrencuH: 1820—1876 


THE ESCAPE 


: (Canvas) 


Height, 251%, inches; width, 21 inches 


Aw Arab, fully accoutred, in his saddle urges forward his horse 
as it prances and emerges from a pool of water. He is making 
for the desert, over which the sun is sinking on the right. Be- 
hind the saddle clings another man, stricken with fear, his arms 
round the Arab’s shoulders; he is thinly clad, his hair tangled, 
his legs and shoulder exposed, as he looks back at the enemy. 


Signed in the left foreground, Eve. FromEeNntIN. 


Purchased at the sale, in New York, of the coflection of Mrs. S. D. Warren, 
of Boston, January 8, 1903, No. 58.— %/747 
[0 4 


No. 30 


FELIX ZIEM 


Frencu: 1821—1911 
(Panel) 
Height, 161%, inches; length, 25 inches 


THE CHURCH OF SANTA MARIA DELLA 


SALUTE, VENICE fe 


Tue church is seen from an island. Sailing vessels are moored 
behind it. In the foreground figures are seated on the quay near 
another vessel, and are approached by a gondola. Boats of vari- 
ous kinds in the left distance. Golden yellow sky. 


Signed in the right foreground. 


Sold in Paris to Fishel, Adler §& Schwartz, from whom it was purchased. 


No. 31 


JOSE VILLEGAS 


SpanisH: Born 1848 


A WAYSIDE DISCUSSION 


(Canvas) 


Height, 21 inches; length, 31 inches 
LE Lleczecae2-trt In the center foreground are Moors sitting, reclining or stand- 


Pe ing near the white walls of a Moorish town, set among luxuriant 

7 /- plants. In the left foreground are cocks and hens. From the 
right, in the middle distance, a Moor rides up. Clear, blue sky. 
Inscribed in the right bottom corner with the artist’s name, as having 
been painted at (?) Capri. : 


Purchased at the sale of the collection of William B. Bement, of Philadelphia, s 
February 27, 1899, No. 46, with the title “Wayside Discussion.” q]5~ Jubut Uden » 


aa 
f 
iy 

we 


Purchased through Fishel, Adler § Schwartz, New York. 


No. 32 


GEORGE H. BOGERT 


AMERICAN: Born 1864 


SUNDOWN 

iil we (Canvas) 

aii Ls 

i i. Le - Dea wan, y Height, 28 inches; length, 36 inches 


A LAKE in the foreground. A man, dressed in blue and wearing 
Post = a white cap, is in a boat. The sun falls, from behind the trees 
on the right, on the bank in the middle distance. Trees are on 
the left. In the distance are cottages, barely seen against the 
horizon. A light has just been lt in one of the cottages. A 
cloudy sky. 
Signed in full in the right foreground. 


ORCHARD 


* 


sly ‘a 


GEORGE INNESS, N.A. 


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ais No. 33 
ay GEORGE INNESS, N.A. 


AMER One : 1825—1894 


SUNSET IN THE APPLE ORCHARD 


(Canvas) 


Height, 22 inches; length, 27 inches 


tl ELA = hei e Leer x. 


Ae ape At the moment of sunset we with difficulty discern a girl, in light 
es blue dress and holding flowers in her hands, standing in the right 
foreground. Further back, and more to the center, is a man 

seen through the break in the trees. 


Signed, and dated, G. Innxss, 1886, in the right foreground. 


Sold by the artist at Montclair direct to Fishel, Adler & Schwartz, from 
whom it was purchased. 


ay 


di 
A 


LOUIS © 


No. 34 


LOUIS LOEB, N.A. 


AMERICAN: 1866—1909 


| re TWILIGHT 
Ni x 
WZ. (ti aed 2 gl: (ea 
| Height, 46 inches; width, 421% inches 


- 020 
94 a From the waters of a blue and mysterious lake, near the edge of 
which on the right is perched a peacock, emerges a half-draped 
figure of a girl in a yellow robe. She is tenderly received by a 
woman, in a white dress and blue mantle, who advances toward the 
left, where are trees in full fruit and foliage. Dank and dark- 


- some background. 
Signed, Louis Logs, and copyrighted in 1907. 


Included. in an exhibition of the artist’s works at the Folsom Galleries, 
February, 1910, No. 5. 


prea 


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JOHN (“OLD”) CR 


No. 35 


JOHN (“OLD”) CROME 


f EnousH: 1769—1821 


‘HE PORLINGTON OAK 


| ie (Canvas) 
Hi Bs ee cera ere, oa Height, 361% inches; length, 44 inches 


On the far side of a pool of water, in which water lilies grow, 
is a giant oak with spreading branches. At the foot of the tree 
lies a man in red trousers and gray coat; by his side is his dog. 
In the left middle distance two cows are lying down, and one 
standing. Background of other trees. Sunny sky. 


fo, 
2/00 


“A fine picture. The detail is so crisp and the high lights so suddenly 
contrasted that one is reminded of Stark. There is also an appearance of 
painting with body color and white into the wet glaze, which is unusual with 
Crome.”—W. F. Dicxss, “Norwich School of Painting,” p. 110. 


Exhibited at the British Institution. 


Formerly in the Wynn Ellis Collection, and lent to the Royal Academy, 1871, 

No. 7, under the title of “The Old Oak Tree.” Sold at the Wynn Ellis 

HIKO-/0-0 Sale in 1876,)as “The Oak”; and in the T. M. Whitehouse Sale, in Lon- 
on, March 29, 1890, No. 58, as the “Porlington Oak.” X TE7). 0-0 

Purchased at the sale of the Henry G. Marquand Collection, New York, 


January 23, 1908, No. 38; on that occasion the catalogue commented on 
the picture thus: 3600 7 t/Yiko ee 


“In this fine example of the Norwich master a giant oak, the favorite 
subject of his study, occupies the center of the composition. . . . It is 
delicately luminous, while a golden atmosphere envelopes the rich browns 
and olive-greens of the foliage. A grand feeling of immensity and vast quiet 
pervades the scene.” 


bs ‘ { — 
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: - A TO A AL I LL SA ——— a nena . 


No. 36 


DAVID HODGSON 


EncuisH: 1798—1866 


THE MARKET PLACE, AND THE CHURCH 
OF ST. PETER, NORWICH 


(Canvas ) op eles GS Bis: 
, suet: 


Height, 35 inches; width, 261/, inches 


We see the old houses with timbered gables, old-fashioned bow- 
windows, sunny balconies and many small windows. In the left 
foreground is the corner house and shop of the poulterer and 
game dealer. Men and women are preparing, packing or selling 
fish under an awning. Buyers, idlers and country folk are vari- 
ously occupied. More to the right a wooden building proclaims 
itself as the Pope’s Head Inn kept by one Coldham. More 
to the right are a farmer’s cart and a carrier’s cart. In the 
background rises the square, massive tower of St. Peter’s Church. 
Sunny sky. 

Formerly in private possession in Norwich. 


Purchased from Louis Ricard, Frankfort-on-Main. 


2 
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No. 87 


JOHN RUSSELL, R.A. 


Enceuisyu: 1745—1806 


PORTRAIT OF A LADY 


eal 
3. Oy wes Bq! (Pastel) 


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RABE = 


Height, 23 inches; width, 18 inches 


Bust length, three-quarters to the right, her blue eyes directed 
to the left. In a bodice of pearly white silk, and a light blue 
mantle damasked with pink and white floral patterns, the sleeves 
being caught up with a brooch of pearls. A lace fichu borders 
the neck of her dress, which is low cut, and in the center of the 
bodice is a red jewel set with pearls and pendent pearls. Pearl 
earrings, and a string of pearls in her light brown wavy hair, 
which is drawn off the forehead and arranged at the back in 
curls. 


Purchased at the sale of the Henry G. Marquand Collection, January 23, 

1908, No. 24, when it was described and illustrated in the catalogue as 

a “Portrait of Peg Woffington, the actress” BSSO 4 G. Vike. 

The traditional identification of this pastel with Mrs. Margaret (“Peg”) 
Woffington, the “impudent Irish-faced girl’ (1719?-1760) cannot stand. The 
lady here seen is of very different and less sprightly character. Our sitter 
has blue eyes, and light brown hair; “Peg’s” eyes were flashing and black, 
and her hair “blue-black.” The lady before us cannot, like “Peg,” be said 
to have “delicately arched eyebrows, deep penetrative eyes, and gently mocking 
lips,” nor does she seem to have had that remarkable fluidity of temperament 
and that instability of character which added to the charm of “Peg,” who 
was feminine to the tips of her exquisitely modelled fingers, although she 
was fond of exhibiting herself in masculine attire. Can we imagine this 
lady sitting on a couch, and looking “dallying and dangerous,” as Lamb says 
of “Peg,” who was “the most beautiful and the least vain woman of her 
day”? We can hardly think of this lady as a Sphinx in white Bow porce- 
lain, as “Peg” was once rendered. 

Again, Russell was only fifteen years old when Peg Woffington died, 
at about the age of 41, in 1760. Even if this were Russell’s very earliest 
work—which stylistic considerations prove that it cannot be—she would 
be older than our sitter. There is no record of Russell’s painting her at 


[Continued 


any time, and he did not begin to exhibit until eight years after “‘Peg’s” death. 

James Latham (“the Irish Van Dyck”) painted Peg Woffington in the 
profile portrait of the Royal Dublin Society. J. B. Van Loo’s portrait of 
her, about 1742, on a balcony with a caged bird by her side, is in the South 
Kensington Museum. In consequence of her terrible stroke, she was repre- 
sented by Arthur Pond as lying paralyzed in her bed; that painting is in the 
National Portrait Gallery, London. 

That the present work does not preserve to us the features of Peg 
Woffington is evident from the portrait of her, by Hogarth, formerly in the 
collection of Lord Lonsdale and later in that of Augustin Daly. Moreover, 
Hogarth’s portrait of “Peg” in the Metropolitan Museum of Art, and other 
works by Wilson, Mercier, Reynolds, Horace Hone and Jackson support this 
view. : 

The color here is not too bright, as in Russell’s early works; but the 
texture, and light, luminous tone prove it to be a mature achievement by 
the “prince of pastellists,” as Russell has been termed. 


Bg 


No. 88 


GEORGE BARRETT WILLCOCK 


Encusu: Active 1850 


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: RURAL ENGLISH SCENE 


(Canvas) 


Height, 20 inches; length, 24 inches 


A soy on a white farm-horse, followed by another horse, and ac- 
companied by a dog, is passing toward a shallow water-splash. 
Above it, on the right, is a small foot-bridge with a hand-rail; 
near it, in the foreground, are ducks. In the middle distance are 
a thatched homestead and farm-buildings, with cornfields, by the 
roadside. A sign-post is near the turn in the road opposite the 
farm. A woody country. Cloud cumuli in the sunny sky. 


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No. 39 


JOHN CONSTABLE, R.A. 


EnGcuisH: 1776—1837 


THE POND 


(Painted in oil on millboard) 
me Height, 12 inches; length, 16 inches 
ack 
A LARGE oak tree is on the edge of the pond near the turn in 
the road down which a man is walking from the left. Two cows 


are cooling themselves in the water at the far end; a man 
is fishing in a punt on the right. 


Possibly painted in the neighborhood of Norwich. 


Purchased from Hugh Constable, the painter’s nephew, through Louis Ricard, 


from whom it was purchased -by the late owner. 


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A COUNTRY ROAD 


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Ps THOMAS BARKER OF BATH 


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No. 40 


THOMAS BARKER OF BATH 


Eneouisu: 1769—1847 


A COUNTRY ROAD 


LE DEES iy (Canvas) 


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Height, 12 inches; length, 16 inches 


Ar a turn in a sandy and uneven road in the heart of the coun- 
try, a man in black attire urges his horse on. Trees in full leaf 
in the middle distance. Blue hills beyond. Sunny sky with 
clouds. 7 

Signed in the right foreground. 


Purchased from Louis Ricard. 


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No. 41 
GEORGE MORLAND 


Encuisu: 1763—1804 


ON THE COAST, ISLE OF WIGHT 


(Canvas) Cet Re oe Ly 


. _ Height, 101% inches; length, 19 inches 
} aes , ro) 
A poo. of water is in the foreground. A man in a blue, long- smo a 


tail coat, accompanied by his dog, walks toward the left along 
a road which crosses broken ground. He has just passed a mile- 
stone marked “XI.” In the distance, in front of him, are two 
figures who pass round the high tree-topped bank of the road. 
Blue hills seen against the horizon, looking toward the coast. 


Cloud cumuli in the blue sky. 
Signed on the right. 


Sold by Arthur Tooth and Sons, London, 1890. 


Purchased at the sale in New York, February 3, 1905, No. 27, of the collec- 
tion of J. W. Kauffman, of St. Louis. bKoo ; A trrinar, 


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No. 42 


JOHN CONSTABLE, R.A. . 


EncusH: 1776—1837 


AN ENGLISH VILLAGE 


(Water Color) 


Height, 91, inches; length, 15 inches 


Tue church in the churchyard stands in the center. Houses and 
small shops on the right, and a farm cart drawn by two horses. 
A boy pulls a child in a go-cart across the road. 


Fully signed and dated, in the left foreground, Joun Constante, R.A., 
PINX., 1825. 


Sold by Hugh Constable, the painter’s nephew, to Louis Ricard, from whom 
it was purchased by the late owner. 


No. 43 


BYZANTINE SCHOOL 


XVII Century 


A TABERNACLE 


(The Tabernacle, of wood) 
Height, 8% inches; width, 6 inches 


—<o - 
(The Paintings) (Cote CB eae 
Height, 7 inches; width, 51, inches 


The Right Wing, Outside, “The Madonna and Child” 17s ae 
Tue Virgin is in her traditional robes, ornamented with floriated 
designs; the Infant in particolored dress and fully draped. The 
: inscriptions, in post-classical Greek characters: ‘Mother of 


God,” and “Jesus Christ.” 
The Right Wing, Inside, “St. Jerome in the Desert” 


Tue Saint, kneeling before a crucifix at the entrance to a cave, 
is about to beat his breast with a stone. Lion and a cardinal’s 
hat on the ground. 


The Left Wing, Outside, “St. John the Baptist” 


Tue Saint, standing towards the right, in camel’s hair coat, 
which drapes his body to the ankles. A scroll in his left hand 
inscribed: “Ecce Agnus Dei qui tollit peccata Mundi.” Back- 
ground of rocks. 


The Left Wing, Inside, “St. Francis receiving the Stigmata” 


Tue Saint kneels, in a rocky landscape, before the apparition of 
the red-clad six-winged seraph bearing the Crucified. On the 
right Brother Leo in an attitude of reverence. 


The Center Panel, “Christ in the Tomb’ 
Beurinp, and on either side of Christ, are the Instruments of the 
Passion. 


This is evidently an archaistic Byzantine XVIIth century work, based — 
upon a limited knowledge of Italian pre-Renaissance art and yet conforming 
with the ecclesiastical traditions of Byzantine formalism. 


Formerly in the possession of Imbert, in Rome (No. 2058). 


No. 44 


THE MASTER OF CAPPENBERG 


ActivE 1500—1520 


ST. CATHARINE 


Companion to No. 45 
(Panel) 


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] Height, 16 inches; width, 6 inches 


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In blue under-robe, richly brocaded dress, and red mantle. Her 
right hand is to her waist. In her left she holds the hilt of her 
sword, with its point to the ground. She wears a turban-like 
headdress of white and blue, and has a gold halo; her hair falls 
on to her shoulders. She stands on her emblematic wheel on a 
yellow, red and blue tiled pavement, before a recess which is 
open above and shows a landscape background. 


A wing of a small domestic altarpiece by the painter. who takes his 
descriptive appellation from his masterpiece, an altarpiece at Cappenberg, 
near Miinster, in Westphalia. 


Formerly in the collection of Bishop Weyer in Cologne, and subsequently 
in that of Fernandez Patto in Paris. 


Examined and authenticated by Friedlénder in 1910. 


Purchased from the F. Kleinberger Galleries, New York. 


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No. 45 


THE MASTER OF CAPPENBERG 


ActivE 1500—1520 


ST. BARBARA 
Companion to No. 44 


: (Panel) 
JClic ltr Ball. 
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Height, 16 inches; width, 6 inches 


28D6 o0 In richly brocaded gold and red robe, with blue and white sleeves, 
: and a dark green mantle. Wearing a red headdress, and with a 
gold halo. Standing toward the left, with her back to her 

emblematic tower which has windows and is embattled, she holds 

a palm branch. Through the architectural setting is a landscape 

with a castle in the distance. 


The companion wing of a domestic altarpiece, and having the same 
provenance as No. 44. 


Purchased from the F. Kleinberger Galleries, New York. 


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WITH SAINTS AND ANGE 


MADONNA . 


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No. 46 


SANO DI PIETRO 


Iranian: 1406—1481 


THE MADONNA AND CHILD, WITH SAINTS | 
AND ANGELS 


(Wood, curved downward at the top) 


Height, 26 inches; width, 19 inches 


Tue Virgin, seen nearly in full face and with her head lean- 
ing toward the Child, whose weight she supports on her right 
arm, wears rich gold-embroidered robes. On the left is St. 
Jerome, and on the right St. Bernardino. Above are four angels, 
whose heads have flames of fire. The heads of the figures are 
nimbed against a gold ground, and those of the Virgin and Child 


are incised with letters. 


Formerly in the sale of a London collection, sold February 27, 1882, No, 72. 
: . Sake - 

Subsequently in that of Jean Dollfus, Paris, sold April, 1912, No. 16, -~Aoo Vy boo 

Purchased from the F. Kleinberger Galleries, : ¥ : 


Included in the Loan Exhibition of Italian Primitives, New York, November, : 3 


1917, Noo Oe. en NR ee 


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No. 47 
THE MADONNA AND CHILD 
BY 


MASTER OF THE DEATH 
OF MARY 


Sa / EY 
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No. 47 


MASTER OF THE DEATH OF MARY 


Fremisu: Acrive 1507—1540 


THE MADONNA AND CHILD 
wry (Panel) 


Height, 26%/, inches; width, 20 inches 


« 


Tur Madonna, seen at three-quarter length turned three-quarters 
to the left and less than life-size, is seated with her left arm rest- — 
ing on a pedestal on which are three cherries. Her red robe is 
cut square across the breast and has green sleeves; she wears 
also a blue mantle lined with yellow, and a green girdle. Her 
hair falls in curls on to her shoulders, and her head-dress is 
dark green. On her lap she holds the Infant, who is scantily 
draped and holds a bunch of cherries in either hand. “A green 
curtain hangs against the architectural setting on the right. 
On the left is a wide landscape with a castle in the foreground. 


Formerly in the collection of Claude A. C. Ponsonby, by whom it was ex- 
hibited at the Royal Academy, in 1907 (No. 19), with an attribution to 
Mabuse. 


Since correctly assigned to the Master of the Death of Mary, who takes his 
rather cumbrous appellation from the pictures of the “Death of the 
Virgin” in the Cologne and Munich Galleries. He is now usually identified 
with Joos van Cleve the Elder (1485?-1540?). . 


Purchased from the Ehrich Galleries, New York. 


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No. 48 


ALBERT BOUTS 


Fiemisu: 1460—1549 


SCENES FROM THE LIFE OF THE VIRGIN 
(Ad Triptych) 
(Panel, arched) 


The center: Height, 24 inches; width, 15%, inches 


7 LPL longer Tat The wings: Height, 24 inches; width, 61%, inches 


oc: 


00 


Center panel. In the center the Virgin, in blue robes edged with 
gold, kneels before her prie-Dieu toward the right, with her hands 
folded, in the middle of the room. On the right is her bed with 
green hangings; the upper portion of the head of the bed 
is adorned with a circular glory of the Trinity, with a globe at 
their feet. Rather more to the left, and seen in front of a chair 
at the side of the bed, is a mandorla-with the Ascension. Below 
the ceiling the angel host appears, bearing the Crucifix, the In- 
struments of the Passion and the sudariwm of St. Veronica. 
Through the iron shutters is seen Calvary. Jesus, Mary and 
Martha are shown, through the doorway on the left, at the 
moment of the approaching death of Lazarus. In the large cartel 
in the foreground is the contemporary Flemish inscription: “By 
dese figuere men merken mach wat Onse Vrowwe dede op den Sater- 
dach” (“By this picture you may see what Our Lady did on the 
Saturday”—1.e. on Easter Eve). 


Left Wing. Inside. The Virgin announcing to the Apostles 
her approaching Dormition. In the background the Virgin and 
the Apostles at the entrance to the Sepulchre, and Mount Cal- 
vary beyond. 


— Right Wing. Inside. The Biblical incident: “Noli me Tangere. 
Angels are in the sky. At the back, through a casement, the 
Three Marys at the Tomb, and an angel standing on the lid of 


the tomb. 
[Continued 


icles 


Left Wing. Outside. A grisaille figure of St. Catharine with 
her sword, book and crown, and standing on her wheel. 


Right Wing. Outside. A grisaille figure of St. Margaret, 
standing on her dragon and holding a crucifix in her folded hands. 


Formerly in the collection of Pastor Glitza at Hamburg. 


Included in the short list of works by Albert Bouts (who has also been known 
as the Master of the Assumption) given in Thieme-Becker’s “Kiinstler 
Lexikon,” Vol. IV, p. 473. 


“Catalogue of 150 Paintings from the Kleinberger Galleries,” 1911, No. 108. 
Examined and authenticated by Friedldnder in 1911. 


Purchased from the F. Kleinberger Galleries, New York. 


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Pe, feel £9 /- 


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No. 49 


FRANS POURBUS THE ELDER 


Fremisu: 1545—1581 


PORTRAIT OF GUILLAUME, SIRE DE 
CROY ET DE RENTY 
(Panel) 

Height, 17 inches; width, 13 inches 

Smatu half-length figure, turned three-quarters to the left. 
Brown beard and mustache. He wears a black doublet with gold 
buttons, a small ruff, a belt, a black hat ornamented in gold, a 
sword, and a gold chain of office. In his right hand he holds 


a pack of cards, and other cards in his left hand, which rests 
on the table before him; on it are also a red pouch and dice. 


Purchased from the Ehrich Galleries, New York. 


No. 50 


PIETER PAUL RUBENS 


Fremisu: 1577—1640 
AND 
DANIEL SEGHERS 


FriemisH: 1590—1661 


THE MADONNA AND CHILD 


(Copper) 


V8 gh 


Height, 151, inches; width, 124%, inches 


Ix a small oval setting, on a rectangular ground, the Madonna 


is seen at half-length giving the Infant her breast, against a 


[Continued on following page 


se roses, sade, Norgetinesnots a 
with a at which, mae ° 


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OURBUS THE ELDER 


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No. 51 


FRANS POURBUS THE ELDER 


Fremisu: 1545—1581 


PORTRAIT OF A YOUNG LADY 


2 a = 
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g 20 Height, 1014 inches; width, 9 inches 
Ee Bee 


Busr length, turned slightly to the right. In a yellow-brown, 
gold-trimmed dress, the yellow sleeves puffed and high on the 
shoulders. A double pearl necklace round her throat; another, 
over her dress, is attached to a gold ornament and has a pearl 
pendant. A small ruff inserted in the high collar of the dress 
and reaching up to her ears. Fair hair, crimped, and seen under 
a gold and jeweled head-dress, from the center of the front of 
which a pendent pearl falls on to the forehead. Dark back- 
ground. 


On the back is the bookplate, together with the motto, “En Dieu est 
tout,” of Colonel Townsend Connolly. 


“Catalogue of 150 Paintings from the Kleinberger Galleries,’ 1911, No. 112. 


Purchased from the F. Kleinberger Galleries, New York. 


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NO27o2 


FRANCOIS CLOUET 


Frencu: 1510—1572 


PORTRAIT OF A LADY 
(Panel) 
Height, 61%, inches; length, 8 inches 
Busr length; in full face. In a red dress trimmed with small 
white bows attached by gold ornaments, and wearing a gold neck- 


lace and large ruff. Dark hair with red and white ribbons in it. 
Light green background. 


The attribution seems to be supported by the drawings and paintings 
by Clouet, at Chantilly and Paris. 


From the collection of the Comte de Montbrizon, Chateau St. Roch, France. 


Purchased from the F. Kleinberger Galleries, New York. 


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No. 538 


HENDRIK GERRITSZ POT 


DurcH: 1585—1657 


- PORTRAIT OF JOHAN SMYSERS 


(Painted in a feigned oval, on a rectangular panel) 


Companion picture to No. 54 | 3 
IC. € Ler Herre 


Height, 634, inches; width, 5 inches 
TuREE-QuarTER length; three-quarters to the right, and looking 7 5 54 168 
at the spectator. Mustache and small goatee beard. In dark VE : 
puce robe, and full black mantle which is wrapped round him 
and held up over his left arm. White lace collar and cuffs. He 
holds his gloves in his uplifted left hand; his right is to his waist. 


The identity is established by the name in old Dutch characters on the 
back. 

Moes: “Iconographia Batava,” 1905, § 7332, records a miniature portrait 
of Johan Smyers (born 1592), painted by an Unknown Artist, as having been 
in the Van der Bogaerde Collection, at The Hague, in June, 1900. He 
refers also to another portrait of him, by an unidentified painter, as having 
been sold in London, March 25, 1901. The sale catalogue of Christie’s for 
that date (No. 94) includes “a pair of panel portraits of Johan Smuysers 
and his wife, in black dresses, a pair,” as of the Dutch School. No measure- 
ments are there given. 

Evidently cut down at some time at the sides to fit a very decorative 
frame of tortoise-shell and or moulu. 


Examined and authenticated by Hofstede de Groot as portraits of Smyers (sic) 
and his wife. 


Se wAE > ee A. 


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3 No. 54 
HENDRIK GERRITSZ POT 


Dutcu: 1585—1657 


PORTRAIT OF SARA SANEN 


(Painted in a feigned oval, on a rectangular panel) 


Companion picture to No. 538 


a 5 Lertecnttt Height, 634 inches; width, 5 inches 


THRreEE-quaRTER length; three-quarters to the left. In a reddish 
yellow skirt and black silk over-dress, with white lace cuffs and 
large ruff, and a small white cap. She holds her fan in her right 
hand; her left falls by her side. Neutral-toned background. 


Her name is in old Dutch characters on the back. 


Moes: “Iconographia Batavia,” 1905, § 6762, mentions certain portraits 
of members of the Sanen family at this date; probably some of those he 
refers to were near relatives of this lady. 


: No. 55 
AART VAN DER NEER 


Dutcu: 1603?—1677 


A DUTCH CANAL: MOONLIGHT 


(Canvas ) 
Height, 144, inches; length, 181% inches 

the foreground two men are standing between two willow-trees, 
from which fishing-nets are hung. More to the right is a small 
boat. A path leads round to the left toward huts and cottages, 
with trees near them. The canal bank extends into the distance, 
where are larger houses and a church seen across the canal from 
the foreground. In the background, towards the right, are sail- 
ing vessels and a water-mill. Overcast sky, with the moon pierc- 
ing the clouds on the right. 

Signed with the artist’s monogram on the road in the left foreground. 


Exhibited at “The Hudson-Fulton Loan Exhibition,’ the Metropolitan Museum 
of Art, New York, 1909, and illustrated in the catalogue of the exhibit. 


No. 56 


JAN VAN GOYEN 


DutcnH: 1596—1656 


WINTER LANDSCAPE WITH SKATERS 


(Panel) vet 7 Z ,, q 9. 


Height, 8 inches; length, 914 inches 


A Dutcu canal scene. A party of village folk skating, sliding, 
riding in sleighs or seated on the ice. A water-mill in the left 
distance; a church in the middle distance. Overcast sky. 
Signed with the artist’s monogram, and dated 1649, near a figure seated 
on the bank on the right. 


Purchased from the F. Kleinberger Galleries, New York. 


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No. 57 


LUCAS CRANACH THE ELDER 


GERMAN: 1472—1553 


THE WOMAN TAKEN IN ADULTERY 


(Panel) 
Ga. Height, 14 inches; width, 914 inches 


Curist, in a blue robe and red mantle, is in the center of a group 
of men, who with varied gestures denounce the woman. One man, 
on the left, holds a stone in his hand and other stones in his 
hat. Behind, to the right and high up, is a gallery in which 
are the High Priest and the Elders. A window in the wall to 
the left. Nineteen figures in all, and among them portraits of 
the artist, of Luther, and of the Archbishop Albert von. Bran- 
denburg. 


The general grouping and the gallery in the background, containing 
figures, recall Cranach’s “David and Bathsheba” in the Berlin Gallery. 


Signed on the front of the gallery with the artist’s sign-manual, a 
crowned serpent, and dated 1537. 


In the Weyer Collection at Cologne, in 1887. 


Purchased from the F. Kleinberger Galleries, New York. 


sieht See, pare, eee? Sate Bins eae! | 
| THE INTERIOR OF A FLEMISH 
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«DAVID TENIERS THE YOUNGER 


No. 58 


DAVID TENIERS THE YOUNGER 


FremisuH: 1610—1690 


THE INTERIOR OF A FLEMISH INN 


Hit (Canvas) 
| ne Phar Aer Height, 15 inches; width, 11 inches 
HiT 7) 


In the center foreground a man, supposed to be the artist him- 
self, is seated in a large chair; he wears brown knickerbockers, 
gray stockings, a yellow doublet and brown canvas shoes. In 
his uplifted right hand he holds a drinking glass, the contents 
of which he regards with satisfaction, as he discusses its qualities 
with an old crony who is seated more to the left. The latter, in 
a blue jacket, smokes his clay pipe. On the wall at the back are 
bottles, jugs and pots placed in a recess or hung from a nail. 
On a nail in the wooden pillar hangs the artist’s cap. In the 
right background round a table near a fireplace are five men, two 
of whom are playing cards. Nearer to the front, on a stool, 
is a large metal vessel. Nearby are a terra-cotta jar with metal 
cover, a broken clay pipe and a burning cigar. 


Signed, in the left foreground, D. Tenters, FEc. 
Formerly in the collection of the Duchesse de Berri. 


Purchased from the F. Kleinberger Galleries, New York. 


= 


AART VAN DER NEER— 


No. 59 


AART VAN DER NEER 


Dotcnu: 1603?—1677 


A LANDSCAPE 
: (Panel) 
Le : [Ee Height, 12 inches; length, 15 inches 


Ar the head of a Dutch canal a man, in the right foreground, is 
about to push his boat off from the bank. On the further bank, 
to the left, two men are walking past a tree beyond which are 
timbered houses with high-stepped gables. A man leans against 
the railings and converses with a woman. In the background 
are houses clustered round a church. Opposite these, and to our 
right, the canal widens and a fishing boat sails past a copse. 


Cloudy sky. 


Signed with the artist’s interlaced monogram, on the bank near the roots 
of the tree in the left foreground. 


Purchased from Messrs. Ricard. 


* 2D 2 x 


ni 
f 
4 
Wp 
— 


THE HERM 
BY 
GERARD DOU 


Te 
He 


‘ 


a i a a 


No. 60 


GERARD DOU 


Dutcu: 161383—1675 


THE HERMIT 
a (Panel) 


Bee Ze. soem 7 
0 
e/ PO a A VENERABLE and bearded hermit in a cell, perusing a large folio, 
the leaves of which he is about to turn with his right hand. His 
spectacles in his left hand. A withered tree trunk on the right; 
rough architectural setting. 

Originally a painting of the head only, but afterward enlarged 
by Dou himself. Possibly the panel was early injured, and the 
head then cut out for the artist to paint the surroundings as 
they now are. 


Height, 16 inches; width, 12 inches 


Included in the sale of Pieter van Buytene, Delft, October 29, 1748, No. 9. 
In the sale of F. Tronchin des Délices, Paris, 1801. 

In the sale of De Séreville, Paris, January 21, 1812. 

In the possession of the dealer Woodburn, London, 1829. 


In the possession of the Paris dealer, Ch. Sedelmeyer, and No. 18 in his 
“Catalogue of 300 Paintings,’ 1898. 


In the collection of Charles T. Yerkes, New York, April, 1910; De Luxe edi- 
tion of the Catalogue, No. 21; Sale Catalogue, No. 92. 


Smith’s “Catalogue Raisonné,’ 1829, Part I, No. 84, p. 28. 


Hofstede de Groot, “Smith’s Catalogue Raisonné, G. Dou,’ 1908, No. 22, p. 
348. 


W. Martin, “Klassiker der Kunst’ Series, G. Dou,’ 1913, p. 10, as having 
been painted about 1635-40. 


Martin (tr. Dimier): “Gérard Dou,” 1911, p. 165, No. 15. 


Purchased at the C. T. Yerkes Sale, New York, 1910. BIL « piSoo . A tbc 


No. 61 


JAN VAN GOYEN 


Dutcu: 1596—1656 


A VILLAGE ON THE BANK OF THE RIVER 
MAAS 


(Panel) PE Vice 


Height, 13% inches; length, 24 inches 
a vf eel 
A vituace, with its roughly constructed dwelling-houses and a svs-SdJ — 


church are on the bank on the left. A man leans over the wooden 
railings; more to the right another man is in a rowboat; other 
boats and sailing vessels are near the trees at the water edge. 
A large boat full of anglers is putting out into deeper water on 
the right. In the distance are sailing vessels, and a water-mill; 
on the far bank is another village. Birds in the cloudy sky. 


Signed and dated on the wooden railings on the left, J. V. G. 1645. 


Formerly in the collection of Baron Lenglart, of Lille, sold in Paris, February 
6, 1879. 


Purchased from the F. Kleinberger Galleries, New York. 


No. 62 


JAN STEEN 


DutcH: 1626?—1679 


A MERRY COMPANY IN THE OPEN AIR 


(Panel) 


Height, 16 inches; length, 19 inches 


A croup of twenty-one figures, variously occupied and con- 
sisting of peasants, their wives and children. The scene, full of 
movement and domestic incident, takes place in front of a 
timbered house, up the side of which clamber trailing vines. A 
child lies in the immediate foreground in front of his mother, 
who has another child by her side as she leans against a long 
table; the far end of the table is spread with a cloth. On the 
other side of it men and women are seated. More to the right 
a man and woman are dancing to the music of a piper, who stands 
on an overturned cask, and a fat little man who plays a hurdy- 
gurdy. Other figures are seated further away on the right near 
the railings, over the top of which we see cottages and a village 


church. 


( 
Signed, in interlaced letters, on the upturned bench in the right fore- 


ground. 


Smith’s Catalogue Raisonné,’” Supplement, 1842, No. 35. Westreene: 
“Jan Steen,’ 1856, No. 302. 


Sold by Smith to Sir P. O’Rial, Paris, before 1842. 
Subsequently in the collection of A. de Ridder, Cronberg, near Frankfort. 


Purchased from the F. Kleinberger Galleries, New York. 


No. 63 


JACOB ADRIAENSZ BACKER 


as ScHoot: 1608—1651 


; 3 Que eee ae (Panel) uy a 
‘ee : LL. e 224 


ee ‘ aes ae Height, 17 inches; width, 1314 inches 


Brio ae lady about sixty years of age, turned three-quar- aoe) 
a 3 ters: to. the left...She wears a black-brown dress trimmed with 
: fur, and a large ruff encircles her neck; her small white cap is 
figured with a simple flower design in blue and brown. Her hair 
ds done in a knot. Neutral-gray background. 


This life-like portrait appears to have been cut down at some time. In 
some respects it approaches the early Amsterdam manner of Rembrandt, 
under whose influence Backer came about 1633 in Amsterdam. It recalls 
a portrait of “An Old Lady” now in the gallery of that city, also such a 
portrait at Berlin. 


—— — * <a? 


Rightly attributed to Backer by Hofstede de Groot, whose declaration is on 
the back. _ 


bs Purchased at the sale 3g the William M. Laffan Collection, New York, January 
20, 1911, No. 26. a7 A Homann 


No. 64 


HANS MUELICH 


GERMAN: 1516—1573 


i PORTRAIT OF ANDREAS REIDMOHR 
| 720 Beret, By) Gens | 


Height, 23 inches; width, 18 inches 


Haur-Lencrn, turned three-quarters to the right, but with eyes 
directed towards the left. In black, fur-lined and fur-trimmed 
cloak, over a black coat which displays through an opening at 
the breast a bright red waistcoat and white undershirt. In his 
right hand he holds a scrap of paper. With the fingers of his 
left hand (which has a signet ring and another ring on the index 
finger) he grasps the fur lining of the cloak. Green background. 
On the right upper corner are the canting arms of Reidmohr: 
Qr, a Moor riding a stag, courant gules, with mantling and crest. 
On the left and right of the head is the inscription: 
Anpre ReipMor | DER OLDER SEINES 
ALDERS | 56 TAR. 


Rietstap gives these arms as those of the Regensburg family of Reidmohr: 
“D’or a un More nu, enfourchant un cerf élancé de gules, quwil tient par la 
ramure.” 

Long attributed to Hans Holbein the Younger, it was recognized by 
Friedlander as the work of Hans Muelich, and as such bought from F. 
Kleinberger. 

On the back is a long letter from Andrew Reid, at one time an Assistant 
in the National Art Library at South Kensington Museum, upholding its then 

“current ascription to Holbein. The reliability of the present attribution is 
confirmed by reference to the same artist’s Portrait of Andreas Legsalz, in 
the Munich Gallery. | 


Formerly in the collection of Dominic Colnaghi in London, and by him lent to 
the Exhibition of Early German Art, at the Burlington Club, 1906, 
No. 45, and reproduced in that Catalogue (Plate XXVII) as of the 
South German School. 


Purchased from the F. Kleinberger Galleries, New York. 


a TE OLR E ETUC AN Et et tN TA a lA St ENN A acpces 


THE ANGEL 


BY 


REMBRANDT VAN RYN 


No. 65 


REMBRANDT VAN RYN 


Durcu: 1606—1669 


THE PROPHET BALAAM AND THE ANGEL 


Panel 
Ba Se ee ne eee 
| MS aoe 232t- Crt weighs ‘ Height, 25 inches; width, 18 inches 
Bb 750 roo BaxaaM, in saffron yellow Oriental robe, embroidered with red 
“ey } and blue border, a patterned girdle of blue and gold, yellow sleeves 


and ample red mantle, and wearing a turban, has a strong, im- 
passioned face, long gray beard with shaved upper lip. He is 
about to strike, with the staff he grasps in his uplifted right 
hand, the ass whose halter he pulls with his left hand. He sits 
astride the ass, which has fallen under him on rising ground at 
a turn in the road; the ass, half stumbling, looks appealingly with 
open mouth at the Prophet, heedless of the white-clad Angel 
that appears in a cloud and brandishes a sword. Behind Balaam, 
and more to the right in half-shadow, are a woman and a child. 
Behind them, and nearer the center, two men on horseback con- 
template the scene; the one in gray and puce robes, and turbaned, 
is Rembrandt’s father. On the far side of him, and further away, 
is the other horseman. Background of high grass-covered rocks, 
seen against the sky. In the right foreground is a luxuriant 
growth of dock leaves, near stones. 


Signed, on one of the stones, with the artist's early monogram R. H., and 
dated 1626. 


Formerly in the Galerie Gustav Ritter Hoschek, von Miihlheim, Prague. De- 
scribed in Dr. W. Martin’s Catalogue of. that Gallery, 1907, No. 101. 


Published by Bode in “Zeitschrift fiir bildende Kunst,’ 1905, TI. 
Frimmel: “Blatter fiir Gemdlde Kunde,” Vol. III, Part 2, p. 45. 
Klassiker der Kunst Series, “Rembrandt,” 1908, p. 3. 


“Several years ago a picture that came from The Hague appeared under 
Rembrandt’s name in a private collection at Prague. Not only in conception, 
composition, type, and even drawing, but in lighting as well, it showed as 


[Continued 


ia Bact New York, was doubted on various sides, with great injustice.” 
de, 0 on “The Earliest. ri Painting by Rembrandt,” in Art in America, 


“the teen was found in Amsterdam several years ago, and I 
brought it myself to Berlin for the proprietor, who wanted it to be restored 
yy Hi auser !”—Bredius in Art in America, 1918, Vol. I, p. 276. 

Vd ofstede de Groot: “Smith's Catalogue Raisonné: Rembrandt,” 1916, Vol. 
; No. 26, pe 35, states that the principal figure and the ass are taken 
m 1 drawing by Dirk Vellert in the Brunswick Print Room. He adds: 
ae : inted about 1628 (sic). There are traces of a signature; oak panel, 26 

a _ inches by 181%, inches.” ~ - 

2 Pi . He says that it was in the collection of S. Maris, at Amsterdam, before 


eee into the possession of the Amsterdam dealer, J. Goudstikker. 
ee a 


chased from the F. Kleinberger Galleries, New York. 


Gam r 


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No. 66 
JACOB VAN RUISDAEL 


DutcH: 1628—1682 


A WATERFALL 


= 
4 a Heo, fot | (Canvas) 
r9) 


Height, 27 inches; width, 211, inches 


Tur stream runs across the foreground, both to the left and 
the right. Trunks of some young trees are temporarily caught 
up on the left. On the high bank on the left are two sheep 
at pasture, while higher up are three men standing near two 
tall pine trees, beyond which is hilly country. The bank on 
the right rises sheer, is wooded and has on it a rustic habita- 
tion. Still higher up, and more to the right, are other buildings. 
Blue sky with clouds. 


Signed, J. v. Rutspaer, in the lower left corner,.on the bank. 
In the collection of Baron Nagel van Ampden, The Hague, 1842. 


Subsequently in the collection of Théodore Patureau, Paris, 1857, under the 
title of “Vue, prise en Norvége.” 


Purchased from the F. Kleinberger Galleries, New York. 


BY 


CORNELIS JANSSEN 


a wae Sty Ses =e ae. 


No. 67 


CORNELIS JANSSEN 


EnousH-Dutcu: 15983—1664°? 


PORTRAIT OF LETTICE, VISCOUNTESS 
FALKLAND : 


Companion picture to No. 68 
Pe (Canvas) 


Height, 29 inches; width, 22 inches 


Busr length; turned three-quarters to the left. Light brown hair 
in ringlets, a curl falling on to her left shoulder. Low-cut black 
silk dress, trimmed at the neck and on the sleeve with lace and 
three small black bows. Pearl necklace and earrings. Dull-toned 
background. : , 


Lettice, or Leticia, daughter of Sir Richard Morrison, of Tooley Park, 
Leicestershire. She died in 1646, at about the age of 35. When “that great 
and amiable man, her husband, was no more, she fixed her eyes on heaven. 
Though sunk in the deepest affliction, she soon found that relief from acts of 
piety and devotion which nothing else could have administered. After the 
tumult of her grief had subsided, and her mind was restored to its. former 


tranquillity, she began to experience that happiness which all are strangers 


to but the truly religious.” 

Other portraits of her were painted by Cornelis Janssen van Ceulen, 
as Cornelius Johnson was also called. One was lent by Lord Falkland to the 
British Institution in 1861; another was exhibited by G. B. Lambert at the 
National Portrait Exhibition in 1866. 

Earlom and Turner’s plate of the portrait of her by Janssen, formerly 
in the possession of Thomas Lloyd, shows her with a single bow on her 
breast, and none on the shoulders, in fuller face, and without the curl hang- 
ing down on to her shoulder. 

The Art Journal, 1884, Vol. 36, p. 361, reproduces a portrait of her by 
George Jamesone, engraved by C. Dietrich. See also Connoisseur, Vol. X, 


1904, p. 3. 
Signed and dated, C. J. recr. 1633, low down on the right. 


“A. L. A. Portrait Index,’ 1906, p. 494. 
“Catalogue of 150 Paintings from the Kleinberger Galleries,’ 1911, No. 39. 
Graves: “Century of Loan Exhibitions,” Vol. II, pp. 590, 591. 


Purchased from the F. Kleinberger Galleries, New York. 


No. 68 


CORNELIS JANSSEN 


EneuisnH-Dutrcu: 1598—1664? 


PORTRAIT OF LUCIUS CARY, 2nd VISCOUNT 
FALKLAND 


Companion picture to No. 67 


if : ee 
| eo. oe ees eee ate (Canvas) 


OO 
ye) Sri 


Height, 28%, inches; width, 22 inches 


Bust length; turned slightly to the right, but looking almost in 
full front. Long fair hair, and a small mustache. In greenish- 
black flower-patterned doublet, slashed and puffed with white; _ 
beautifully patterned, flat lace collar fastened with long tassels. 


Neutral background. 
Signed and dated on the right, C. J. recrr, 1634. 


Statesman, soldier and author, the subject was one of the eleven children 
of Sir Henry Cary, Ist Viscount Falkland, by his wife Elizabeth, daughter of 
Sir L. Tanfield. Born about 1610, he inherited the literary tastes of his 
mother, who was famous for her learning and her knowledge of languages. 

In 1631 he married the lady seen in the companion portrait. It was a 
love match. But as the lady was poor, his father was very angéred at the 
marriage. Pained by the quarrel thus forced upon him by his father, he 
went over to Holland with the intention of taking military service, but he 
soon returned to England. He was elected Member of Parliament for New- 
port in 1640, and two years later became Secretary of State. He was the 
most beloved of all the Earl of Clarendon’s friends. There is much that 
is pleasing in his poetry, but no trace of imaginative power. At the battle 
of Newbury, September 20, 1643, he rode in the front rank of Lord Byron’s 
regiment and was struck down in an instant by the enemy’s bullets. He was 
strangely described as “an assemblage of almost every virtue and excellency 
that can dignify or adorn a man.” 

The identity is clearly established by other portraits of him, notably 
by Van Dyck. Portraits of him by that artist have been lent out of the col- 
lections of the Earl of Clarendon and the Duke of Devonshire. (See Klas- 
siker der Kunst Series, “Van Dyck,” p. 488.) 


“A. L. A. Portrait Index,’ 1906, p. 494. 
“Catalogue of 150 Paintings from the Kleinberger Galleries,’ 1911, No. 38. 
Graves: “Century of Loan Exhibitions,’ Vols. IT, III, IV, and V. 


Purchased from the F. Nleinberger Galleries, New York. 


GERARD DOU 


F000 


Q 


0 


No. 69 


GERARD DOU 


Dutrcu: 1618—1675 


4A YOUNG SCHOLAR IN HIS STUDY 


(Transferred from Wood to Canvas) 


Height, 2314, inches; length, 3114 inches 


A youne man, in loose gray robe and black cap, is seated on the 
far side of a table which is covered with a light blue cloth. From 
the folio lying open before him he is jotting down notes on a 
paper by his side. An ink pot and candle snuffers near by. Be- 
hind him is a tall bookcase, with a globe and books variously 
placed on the shelves. The dark blue plush curtain is drawn aside 
and fastened near the window, with iron bars, on the left. An open 
trunk on the right, near a pillar; a red cloak thrown on a brass- 
studded, red chair; a viola and a globe at the foot of the stair- 
way. The door on the stairs is left open. On the -wall, on the 
right, going up the stairs, hangs a crumpled colored drawing of 
a biblical scene, apparently an incident from the Story of Tobias. 


Included in the Rembrandt Tercentenary Exhibition, Leyden, 1906. Repro- 
duced on a large scale in Bredius: “Die Leidener Ausstellung,” 1906. 


In the possession of the London dealer, Walter J. Abraham. 
“Klassiker der Kunst” Series, “Dou,’ 1918, p. 64, and dated about 1630. 


Hofstede de Groot: “Smith’s Catalogue Raisonné, G. Dou,’ Vol. I, 1908, No. 
AOA, p. 356. 


Martin: “Gérard Dou,’ 1911, p. 167, No. 30. 


Purchased from the F. Kleinberger Galleries, New York. 


Cas 

apes 

wr 
magne 
a 


‘Na Se aha wee . 4 4 nm 
ee ai may ITALIAN HARBOR, WITH 
DUTCH MEN-OF-WAR | 


¥ 


- 


BY 


JAN ABRAHAMSZ BEERE-_ 
STRAATEN 


AND 


ADRIAEN VAN DE VELDE 


No. 70 


JAN ABRAHAMSZ BEERESTRAATEN 


Durcu: 1622—1666 
AND 


ADRIAEN VAN DE VELDE 


DurcuH: 1635—1672 


_ AN ITALIAN HARBOR, WITH DUTCH 
Ol (G22, age MEN-OF-WAR 
0 


é 


——— 


Si ee Ix the foreground is the quay of a harbor. ‘Two rowboats have . 
just arrived at the steps, up which advance a lady and a gentle- — 
man, accompanied by others, as they make their way to the 
church on the right. A man in court dress is ready at the top 
of the steps to meet them. Other figures are on the quay. Cows, 
sheep, and a goat are near a fountain in the wall of a richly orna- 
mented Renaissance structure with a balcony. In the left dis- 
tance are vessels of war, the one nearest to land having the 
Royal arms and the Brabant Lion painted on the stern. Other 
vessels, under full sail or in the offing, while in the right distance 
is more shipping moored up to the quays of the city. Blue sky. 


The justice of the attribution is borne out by reference to the same 
painter’s “Mouth of a River, in Winter,” at Hamburg. 

The figures seem to have been added by Adriaen van de Velde, who 
painted groups of figures and cattle into the landscapes of great painters 
of his day. In that capacity no other painter of accessory figures can rival 
him. Willem van de Velde, his brother, also profited by his extraordinary 
talent. | 

Signed on the fountain, J. BEERESTRAATEN FECIT. 


Formerly in the collection of Baron Lenglart, of Lille, sold in Paris, February 
6, 1879. 


Purchased from the F. Kleinberger Galleries, New York. 


& 


ei 
eS S oe 


INOt Al 


JAN WYNANTS 


Dutrcn: 1620—1682 


LANDSCAPE WITH FIGURES 


ay fe (Canvas) 
Be ee 


oo 
NE em 


Height, 27 inches; length, 34 inches 


In the right foreground the trunk of a gnarled tree lies on the 
ground at the foot of another oak-tree, some of the branches 
of which have already gone. A woman and a child, preceded 
by a dog, are coming down the road at the turn of which grow 
two other trees near a sandy bank on which are two greyhounds. 
More to the left are two men with sporting dogs; others in leash 
are in charge of another man. In the right distance a man and 
a woman are riding up the road. In the background to the left 
is a wood; to the right hilly country. 


Fully signed in the right bottom corner. 


Formerly in the Schubart Collection, and described in Pallmann: “Gemédlde 
Sammlung Dr. M. Schubart, Munich,” sold in October, 1899, No. 87. 


Subsequently in the F. Furstenberg Collection. 


Purchased from Louis Ricard. 


No, 272 


JAN VAN DER MEER, OF HAARLEM 


Dutrcn: 1628—1691 


ENVIRONS DE HAARLEM 


(Canvas ) 


Height, 37 inches; length, 59 inches 


A scENE outside a large country inn, which is of brick and has 
lean-to buildings, and is approached by a rutty road that passes 
large beech trees. In the right foreground a man stands and talks 
to a woman who is seated under one of the trees. He has a pack 
on his back, and a bundle is on the ground by his side. Another 
man, more to the right, approaches the inn; a man and a woman, 
on the left side of the clump of trees, are seated on the roadside. 
Beyond them are the stables, overhung by the branches of other 
trees, and nearby is a woman on horseback among a group of 


[Continued on the following page 


cavaliers whose horses are being foraged at a tumbril. Further 
back is the church, with a tall spire. In the left foreground are ~ 
the trunks of felled trees. In the middle distance, figures in a 
cart and on foot are making their way to the open country. 
Blue sky with clouds, and birds flying in it. 


Signed, in the right bottom corner, Jouannes V. Der MEER. 


Formerly in a private collection in London; subsequently in that of Jules 
Porgeés, Paris. 


Purchased from the F. Kleinberger Galleries, New York. | 


AMERICAN ART ASSOCIATION, 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


.RTISTS REPRESENTED 


AND THEIR WORKS 


f 


we 


ae. 


a 
% 
i 


“yen Srey ~ etter tata lt ngs se 
ee ee Sy 


AND THEIR WORKS 


BACKER, Jacosp ApriaEnsz 
Portrait of an Elderly Woman 


BARKER OF BATH, Tuomas 
A Country Road 


BEERESTRAATEN, Jan Axsranamsz, 


AND ApRIAEN VAN DE VELDE 
An Italian Harbor, with Dutch Men-of-War 


BOGERT, Georce H. 


Sundown 


BOUCHER, PRancois 
A Woman and a Child 


BOUDIN, Evcrne Louis 
A View of a Harbor 


BOUGHTON, GrorceE Henry, R.A. 


The Cronies 


BOUTS, Apert 


LIST OF ARTISTS REPRESENTED 


CATALOGUE 
NUMBER 


63 


40 


70 


32 


26 


28 


Scenes from the Life of the Virgin (4A Triptych) 48 


BYZANTINE SCHOOL 
A Tabernacle 


CHARLET, Nicoxas Toussaint 
A Grenadier 


43 


CLOUET, Francois 
Portrait of a Lady 


CONSTABLE, Joun, R.A. 


The Pond 
An English Village 


COROT, Jean Baptiste CAMILLE 


A Landscape 
La Tour d’Esbly 


CROME (“OLD”), Joun 
The Porlington Oak 


CRANACH THE ELDER, Lucas 
The Woman taken in Adultery 


DAUBIGNY, CuHartes Francois 
River Scene, with Woods: Evening 


DOU, Gerrarp 


The Hermit 
A Young Scholar in His Study 


DUPRE, JULES 
The Road to the Farm 


FICHEL, Benzamin Evctne 
A Game of Chess 


FROMENTIN, Euvcenet 
The Escape 


35 


57 


17 


60 
69 


14 


29 


CATALOGUE 
NUMBER 


fe The Marriage | Contract 21 


a “a 
ane >.) - 


a e “Monk, Bookworm 


- 


I ARPIGNIES, Hen JOSEPH 


cla 


a i 


i IN, Davin 

pea tie: Market Place, and the Church of St. Peter, 
Norwich 36 
NESS, GEORGE, N.A. 
a Sunset in the Apple Orchard 33 4 
AELS, Tagar > 

A Country Road | 10 
J 
Pe: JANSSEN, CorNELIS . 
Se - Portrait of Lettice, Viscountess Falkland 67 ' 
. q ¥ Bits an Portrait of Lucius Cary, 2nd Viscount Falkland 68 


KOEKKOEK, Barenp Cornetis 
A Woody Dell : 5 


KOTSCHENREITER, Hvco 
A Merry Toper 15 


LENBACH, Franz von 


Portrait of a Boy 
Portrait of Richard Wagner 


LYHERMITTE, Lton Avcustin 
Two Women at a Spring 


LOEB, Louis, N.A. 
Twilight 


MADRAZO, Jost 
Portrait of a Lady 


MASTER OF CAPPENBERG (Tue) 


St. Catharine 
St. Barbara 


MASTER OF THE DEATH OF MARY 
The Madonna and Child 


MORLAND, Georce 
On the Coast, Isle of Wight 


MUELICH, Hans 
Portrait of Andreas Reidmohr 


POT, Henprik GErritsz 
Portrait of Johan Smysers 


Portrait of Sara Sanen 


POURBUS THE ELDER, Frans 


ve 

Me it 
a 

“ a 


CATALOGUE 
NUMBER. 


23 
25 - 


19 


34 


20 


44, 
AS 


AT 


41 


64 


Portrait of Guillaume, Sire de Croy et de Renty 49 


Portrait of a Young Lady 


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CATALOGUE 
NUMBER 
REMBRANDT VAN RYN 
The Prophet Balaam and the Angel 65 
RICO, Martin 
- A Side Canal, Venice 9 
3 ROYBET, Frroinanp 
e A Cavalier 27 
a _RUBENS, Pierer Paun, anp 
Z Danie, SEGHERS 
i ~The Madonna and Child 50 
t MUSSEL, Jonny, 2.4. 
' Portrait of a Lady 37 
; SANO DI PIETRO 
; The Madonna and Child, with Saints and Angels 46 
' SCHREYER, Apowr 
: The Return of the Foragers 1 
; . SEGHERS, Danret (See Rvupens) 


STEEN, Jan 
A Merry Company in the Open Air 62 


 TENIERS THE YOUNGER, Davin 
The Interior of a Flemish Inn 58 


| THAULOW, Fairs 
| The River 24 


VAN DER MEER (or Haartem), Jan 
Environs de Haarlem 72 


CATALOGUE 
NUMBER 


VAN DER NEER, Aart 


A Dutch Canal: Moonlight 
A Landscape 


VAN DE VELDE, Anpriaen (See BEERESTRAATEN ) 


VAN ELTEN, Kruseman, N.A. 
A River Bank 


VAN GOYEN, Jan 
Winter Landscape with Skaters 
A Village on the Bank of the River Maas 


VAN RUISDAEL, Jacosz 
A Waterfall 


VERBOECKHOVEN, Evcrtnrt JosEpH 
Sheep and Chickens in a Stable 


VILLEGAS, Jost 
A Wayside Discussion 


WEISSENBRUCH, Jouwannes Henprix 
Meadow, Cottage and Woods 


WILLCOCK, Grorce Barrerr 
Rural English Scene 


WYNANTS, Jan 
Landscape with Figures 


ZIEM, Feuix 
The Church of Santa Maria della Salute, Venice 


55 


59 


12 


56 
61 


66 


31 


aj 


38 


re 


30 


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